Reviews by N. Cormier

I love weird concept games! And this one is pretty darned weird, being inspired by a dream the author had. Props to them for rolling with it, I am so here for Antarctic plant horror. The writing backs it up too, descriptive and suspenseful. Most of the game is spent introducing the player to the central concept (military fungal killing machines that require a human handler to prevent them from eating each other) and then slowly building up to the PC actually meeting one of these monsters in the flesh(?).

The game also features a lot of Bengali phrases as the PC primarily speaks the language, with the option to look at a translation and get a pronunciation guide. I thought this was pretty neat, and I think some of the vocabulary is going to stick with me. (Not much, unfortunately, but that’s a me problem again. I am not good with languages.)

There’s a lot of potential here, but unfortunately it’s not all realized. After the intro, the gameplay consists of a handful of tasks that you can choose to do or not do in order to affect how your meeting with your assigned Hyphaen goes, which then determines which of three endings you get. I got two (including the good end), but there’s quite a lot of text to get through before you get back to any choices so I didn’t go in for a third round. I’d really love to see a more expanded version of this game, since it currently just feels like the introduction to something really cool.

Oh man, this game got me right in the heart.

The Good Ghost has a simple presence - you’re a ghost bound to the house where you used to live, doing good deeds for your former family and trying to remember who you were. Simple is good here, because it allows the authors to really flesh (sorry) out the setting and the situation. While this game is choice-based, it has a very parser-like sensibility, with all interaction done via clicking on highlighted interactable objects or locations. (I liked this quite a lot, since it meant I wasn’t hung up on any guess-the-verb stuff and could just let myself melt into the game. I also suspect the walking-through-walls gimmick might have been difficult in Inform, but don’t quote me on that.) Meanwhile, the writing lightly but masterfully fleshes out the the cast of characters. Despite only getting snapshots, I really felt a strong connection to the mom, the boy, and even the cat! The story is handled with a similar light but deft touch, and I’m going to remember that ending for a long time.

I’m coming off a less-good-than-average week in my personal life, and playing this game felt like drinking a cup of warm chicken soup on a cold day. Thank you so much for this experience.

In Under the Bridge you’re a (small) eldritch abomination, one of the last of your kind, and you’ve taken shelter under a bridge in a forest. But bridges bring humans, and if sufficiently frightened humans will bring other humans with swords. (Humans are also delicious. Choices, choices.)

What I Liked

This is a very stylish Twine game! I normally get cranky about white-on-black color schemes (it’s not my fault it gives me eye strain!) but in this case it feels like a deliberate design choice instead of an author forgetting to change the default Sugarcube settings. This is backed up by a number of white-on-black illustrations of our monster and the situations it winds up in, which are simultaneously very creepy and absolutely adorable. The background sounds are also 1) togglable and 2) change per node depending on the mood the author wants to set, which is fantastic. Text colors and effects are also used well.

The writing is also a delight here – the plot is fairly thin (as expected for a game of this length) so it focuses more on showing events from our monster’s point of view. Writing inhuman protagonists that feel properly inhuman is always a challenge, and I think it’s done well here.

What I Didn’t

Replayability is hampered by the fact that the early game doesn’t change much regardless of your choices. You play through a series of events and your only choices are how to react. The first two events happen roughly the same way each playthrough and significant branching only happens after you’ve completed them, which starts to drag after going through the game 2-3 times. Having the undo button present helps, but I would have liked to see more cosmetic variation in the second event or at least a way to skip the intro on subsequent playthroughs.

Lost at the Market is the first game I’ve ever played in GrueScript, and from the author’s notes I think it’s the first one they’ve written in the language as well. Unfortunately, I spent most of my experience with it fairly confused – you’re playing through some kind of dream, but what the dream is actually about isn’t clear. (You also don’t appear to be lost in any kind of market, dream or otherwise). The game does a good job at making you feel as if you’re in a dream, but the dream-logic on display is frustrating and makes it hard to decipher what you’re supposed to do. This isn’t helped by the writing, which has an unfortunate number of spelling, grammar, and punctuation mistakes.

The author’s notes imply a more polished version with added multimedia is in the works, which I’d be interested to play. But for now, this game seems unfinished.

Witchfinders is a short twine game that is, as you may have guessed, about people who find witches. The twist is, you’re not a witchfinder – you’re a witch, and the absolute last thing you want to do is get caught. The game focuses on one day in your life, where you try to use your supernatural powers for good while avoiding the watchful eye of the Inquisition.

What I Liked

First of all, this game has great cover art (which is why I’m playing it so early)! The author is also credited with drawing the cover, so hats off to them for that – they’re clearly very talented in multiple areas.

Moving on to the game, I was impressed at the amount of puzzles and pizazz Witchfinders packs into its short runtime. The puzzles are all of the get-x-ingredient-to-solve-y-problem variety, but they each have a unique and engaging framework around them that keeps them fresh. There’s even a few tasks you can do seemingly just for the hell of it (why yes, I do like raspberry tea!) I felt the world of Witchfinders was well fleshed out, and nicely balanced hope and kindness against the inherent darkness of the premise.

What I Didn’t

Balancing difficulty in social puzzles is a tricky thing, and unfortunately the puzzles in this game fall on the side of “too easy”. In each case there’s obviously-right and obviously-wrong ways to tackle each problem, so you have to go out of your way to be obvious if you want to lose. I would have liked to see some more shades of grey in the puzzle design, with third options that would attract attention at the cost of doing good.

Other Thoughts

The game uses random descriptions well to keep things fresh. I liked checking the poster and reading the spellbook each run-through to see what ridiculousness would show up next.

I was excited to see a magical realist game show up in the Comp as it’s something I like but don’t see often, especially in video gaming. One of my favorite video games is in fact Kentucky Route Zero (which is also the only magical-realist game I know of, go figure). It’s clearly a favorite of this author as well, since I could clearly see the inspiration here. KRZ and The Counsel in the Cave are both games set in rural areas (at least at first), and are technically choice-based but don’t have much in the way of traditional puzzles. Instead, the player is given the option to shape how the story plays out – the choice picked is always correct and becomes the new truth of the world, as if it’s always been there. The overall framework of the plot stays the same, but no two playthroughs will ever be alike unless you do it on purpose.

Luckily for me, The Counsel in the Cave ends up being a worthy game on its own as well as distinguishing itself well from its progenitor. I don’t want to give too much away, but it’s very well written and creates a world that is both stylistically and thematically distinct from KRZ and has no trouble standing on its own. It also tells a story that is nicely sized, and will feel familiar to anyone over a certain age - who will you become after high school?

The Counsel in the Cave ends up pulling off a neat trick integrating its gameplay with its story. The central conflict driving the two protagonists forward is the question of what to do after high school, how their choices will shape who they become, and how to deal with the responsibility of it all. At the end of their arcs they both conclude that it’s going to be scary, but no matter what they’ll solve the problem by moving forward and seeing where life takes them. The only wrong choice is not to choose and thereby end up stuck.

This is, incidentally, what the player is doing the entire way through The Counsel in the Cave. The only way to get stuck is by indecision alone, and while the player can’t be sure of the outcome of any choice they know it’ll move their story along. Yes, it’s a game and people are expected to click the links, but I really enjoyed this piece of thematic resonance.

What I Liked

For those of you who don’t want to read the spoiler (and I encourage you to play the game first before reading my thoughts!) I liked quite a lot of it. The side character Moondog was a standout, though.

What I Didn’t

I think a little too much happens offscreen between acts, in particular between 1 and 2. I can tell the author wanted most of the journey to happen off-screen, but that requires walking a tightrope between telling the player too little about what happened (and confusing them) and infodumping. This definitely erred more on the side of confusing, which wasn’t a huge problem but it did throw me out of the narrative for a hot second.

A Matter of Heist Urgency bills itself as “An Anastasia the Power Pony Story”, although as best I can tell this is the only “Anastasia the Power Pony” story in existence right now. The game certainly doesn’t seem to acknowledge this, as it throws you right into the action, but it’s not hard to piece together what’s going on – you’re Anastasia, a pony superhero fighting crime in a world of ungulates. In true Saturday morning cartoon style, you have to investigate a crime (without blowing your secret identity, of course), and then jet off and use your powers to fight the culprits with (or more accurately, despite) the help of the gallantly useless detective Sir Ponyheart.

What I Liked

The story and staging here have a lot of heart. The pony characters are memorable, and overall it really feels like a 90s superhero cartoon. I would have absolutely loved an Anastasia action figure as a kid.

What I Didn’t

This game is full of great ideas that aren’t translated well to a game. Yes, it’s a shorter parser game, but there’s really no puzzles to be found. You examine some things in the first scene, then it’s off to find the llamas and make your way through some fight scenes as Anastasia. At least one potential puzzle is solved by Anastasia doing a number of actions when commanded to SNEAK that could have been several separate commands. The fight scenes were similarly unchallenging and while there’s some depth to them, I also managed to win them all by spamming the same command over and over. Maybe the hint command will give more insight, but I’m not generally a fan of using it to convey required gameplay knowledge. This is a place where I really could have used a basic list of available commands, since otherwise I feel like the game expects the player to be familiar with Anastasia’s power set – but there’s still no other Power Pony games to be found, so guess the verb it is. Overall this felt like watching a cartoon, with watching being the key word.

This game is the latest in a series that includes Bell Park: Youth Detective and Birdland. Birdland in particular is a special game to me - I played it at the recommendation of my first girlfriend, and it was my first real introduction to interactive fiction. (Well, not including Counterfeit Monkey, which I enjoyed but came away with the conclusion that I was too dumb for parser IF). Appropriately given the summary of The Grown-Up Detective Agency, when I played Birdland I was also experiencing the ennui of my early 20s and all that entailed, with new and exciting challenges like “being out to my parents”, “I think my first real job sucks, actually”, and “baby’s first medical crisis”. The latter of these consisted of a really nasty sinus infection, and Birdland was suggested as a way to keep myself busy and cheer me up while I was stuck at home and struggling to be functional. So Birdland is one of those games that I played at the exact right moment in my life for it to really, really stick with me.

As such, I’ve been very excited and very nervous to play The Grown-Up Detective Agency, out of the hope that it’ll live up to my expectations and the fear that it won’t (possibly because things just hit different when you’re not taking enough antibiotics to kill a horse). But it turns out that I didn’t need to worry, because this game has everything that made Birdland great and then some.

What I Liked

One of the things I enjoyed most about Birdland was how it seamlessly balanced the silly and irreverent A-plot (psychic bird men are invading the world via summer camp!) with a touching, nuanced, and deeply relatable B-plot (how do I deal with being gay at 14?). The Grown-Up Detective Agency pulls off the same trick flawlessly and is equal parts more ridiculous and just as grounded.

The A-plot has you looking for a woman’s missing boyfriend, and is ripe with ridiculousness as you try to hunt down clues at a chicken wing joint, a cabaret club, and the world’s worst dive bar among other places. Many of these locations give you ample opportunity to hear about the ridiculous shenanigans that go on there, and I ran through every single one because hearing about the bar’s screaming contests is the kind of thing I find funny. (Yes, literal impromptu screaming contests over who can scream louder. It’s that kind of place.) Meanwhile, the B-plot has Bell attempting to solve why her 12-year-old self has suddenly time traveled into 2022 which turns into a subtle exploration of growing up, expectations vs reality, and the sinking feeling that maybe Kid You was more right about certain things than Adult You was. It’s very relatable to how I felt in my early 20s, and frankly still do to a lesser extent in my 30s. Bravo!

What I Didn’t

The mystery in this story can be summed up as “are the straights OK?”, which made for a lot of excellent humor throughout but didn’t give a satisfying conclusion to the A-plot (Spoiler - click to show)(since in the end Mark G was just off being bafflingly heterosexual). I think that was intentional, since its purpose was mostly to contrast Adult Bell’s boring detective work with Kid Bell’s wide-eyed enthusiasm, and most real life mysteries aren’t nicely wrapped up in a bow. Still, I don’t think it quite worked for me, possibly because after a certain point the mystery gets tied up in a way that felt rushed.

Other Thoughts

I’m also in a field that I’ve been interested in since I was a kid (engineering), and squaring my dreams of killer robots with the reality of endless Excel documents and heated arguments about flatness requirements for a while went only slightly better than Kid Bell’s journey did. Getting out of my awful first job helped though, and I think there’s a message here about keeping your youthful spark alive and not letting the reality of Adulthood (™) grind down your enthusiasm too far.

Star Tripper is a game that’s not trying to sell itself very hard. The summary consists of a single sentence, describing itself as inspired by a Palm Pilot game that I’m definitely not familiar with! So I didn’t really know what to expect going into this one.

It turns out that Star Tripper is massively underselling itself, because there is A TON to do. After the intro, which establishes you as the scion of a rich and powerful family looking to rescue their kidnapped sibling, it dumps you out in the great wide universe where you can do just about anything. And I do mean anything! The number of quadrants and planets you can visit must number in the hundreds, with activities on each ranging from religious prayer, drinking, visiting bookstores, ferrying passengers, and of course karaoke and gambling (not available yet in my playthrough, but I’m excited about them anyway). Oh, and the resource trading. How could I forget that?

What I Liked

The goods trading is the meat of the game, and it feels very satisfying. It didn’t take me long to get a feel for how it worked - buy goods cheaply on planets that produce them, and sell them high on planets that don’t. I quickly spun up a burgeoning empire in electrical cables and for a while I was rolling in money. I felt very smug about my early success, and was pushing into deeper and deeper quadrants in the hope of finding a space station to spend my cash on a better ship and start the process all over again.

What I Didn’t

Unfortunately, a game like this is hard to balance, especially with one programmer and one tester (based on the credits). So while I thought the trading was fun, fuel management ended up being a pain. In particular, refueling on a planet is a real drag! Instead of the spaceport having a fuel station (why???), you have to go to a bar, buy a patron a drink (at a price that scales with planet difficulty), buy them ANOTHER drink (with a similar price that isn’t revealed until you’ve bought the first), and then finally unlock the option to pay them even more money to buy fuel. Not only is this tedious, it means that if you land on an expensive planet you can wind up with not enough cash to actually buy fuel, leaving you to do odd jobs until you scrape together the cash to leave. An easy fix for this would be at least to let the player buy as much fuel as they can afford, but when you’re buying it from a shady person outside a bar it’s all ten units or nothing.

There’s a few options of jobs you can do to earn cash - I’ve run into mining ore and making coffee so far, although I suspect there will be more once I get further in. Unfortunately, the mining minigame seems to be designed for players to trade credits for carpal tunnel - you descend a mineshaft for up to 50 meters (requiring one click for each meter), mine until your bag is full (20-30 clicks) and then go back up to the surface (again, one click per meter). Then you do it again. I did this once and then stopped because it gave me wrist strain. The other money-making minigame I’ve encountered (working at a coffee shop) is much more fun, since it’s based around remembering customer’s orders instead of blind clicking. Still, the payout wasn’t enough to justify the 20 or so rounds I’d need to complete in order to get back off the planet, so with that as my only option I decided my run was over. (The minigame rewards don’t seem to scale properly with the planet level either?)

Finally, I had absolutely no idea how to progress the story, and after the first quadrant I didn’t encounter a single space station where I could upgrade my ship. In hindsight I really should have written down the number of that first quadrant! (I really should have written down a lot of things. Definitely bringing a notebook for round 2.)

The Haunted Help Desk has the scariest real-world premise yet: dealing with your company’s IT department. (I kid, I kid!) The conceit is that the IT department is haunted, but you really, really, REALLY need to get your tablet to connect to the wifi, so you’re willing to brave the horrible IT maze to find someone who can help you. (Which, minus the haunting, sounds like every IT experience I’ve ever had).

The game squeezes as much out of the concept as inhumanly possible, with the ghoulies and ghosties of the maze all still happy to help you find the one guy who can fix your tablet. Of course, Haunted IT is a lot more dangerous than regular IT, so there’s pitfalls waiting for you at every corner. Luckily, the author has mercifully enabled the back button here, changing your numerous deaths from something frustrating to a comedy punchline.

Overall, this game feels like playing through a Halloween SNL sketch, and I mean that in the best way. Great job!