Reviews by manonamora

Resurrection Gate is currently a demo for a larger dark fantasy RPG-like Twine game, in which you play different characters to explore themes of life, death and all that is between. Currently, only Yasha, a shellshocked hussar, and Laurence, a resurrected duke (my fav so far), are available, and only includes the first section of their respective paths.

As expected from this author, the game is highly customised, with distinct interfaces and styling for different sections, portraits of the protagonists and other NPCs in the scenes, as well as soundtracks and SFX to help set the mood. It also includes QOL settings: sound volume, fonts, theme, saves (I’d love a toggle for the animated text, the movement made me a bit nauseous). Similar to more visual novel programs, you can also use the SpaceBar to display the next section of the text (though you will still need your mouse to move to a new passage or click on dialogue/action options).

It took me a while to get into the game itself, as it throws a lot of information at you from the start, while expecting the players at time to already have certain knowledge (it’s a pretty long intro, and you also see this happening further in the demo). I don’t think I managed to immerse myself into the universe until after being introduced to the first protagonist. It quickly gets balanced by the RPG mechanic/choice options, which is very fitting for the this dark-fantasy setting. I think it was also smart to have a Trait-check from the start (making sure that central element is important in the gameplay), where it locks certain options if your level is not high enough. Honestly, it made me intrigued about what is hidden behind those locked choices (especially with the first PC).

It’s very obvious that there was a lot of care put into the demo (which, looking at the devlog, has been years in the making). There are a lot of intriguing elements that make me interested in seeing the final product (especially Laurence’s arc), and it makes me wonder how the game will evolve in subsequent updates. I’m interested in seeing how each character will move forward, as well as seeing how the different paths join (assuming the different PCs will meet at some point).

As the Eye Can See is a short emotional kinetic Twine piece, about the day before Halloween, and its meaning for the narrator throughout the year. From the contemporary date (Oct, 30h, 2024), the story portrays multiple vignettes of that day throughout the years, in reverse chronology.

It is both beautiful and haunting, in the way those recollection threads the life of our teenage narrator. It tells us her life has become quite lonely, following the loss of (Spoiler - click to show)her mother (an event that her father does not (wish to) discuss with her, nor does she seem willing to ask) - going as far, even, as rejecting the connections between those memories and things tied to them (like the familiar beautiful cottonwood which makes her feel too sentimental). With the writing focusing on details and things, all is actually said in hushed words, fleeting unacknowledged mentions, and unrecoverable memories. As if ghosts of the past were omnipresent, but unreachable or ignored.

This was a very melancholic piece, full of beautiful hidden meanings deepening with each new iteration of the day before Halloween.

your life, and nothing else is a short surreal horror interactive game made in Twine, where you live in a shared house with some peculiar individuals, a few of whom you’ve previously interacted with. You can wander through the building, check the common rooms in the lower floors, or see if your housemates want some company or require help with something. Whatever you can do to pass the time somehow.

Because you are essentially stuck in this monotonous life of waking up/checking on your neighbours/helping them with something/going back to bed, stuck in this shared house (unable or unwilling to leave?), stuck with yourself. But while your day-to-day doesn’t ever change, your surrounding does… and so do you.
Evolving slowing in this forced confinement, your health takes a toll, both physically (which you ignore to help your neighbours) and mentally (unease/paranoia building), while the building gets significantly hotter and filled with smokes.

The writing does a good job at creating this increasingly oppressing situation (which you both ignore, moving on with your day as if nothing was wrong, feel its effect on your health, but also question its happening) and the unsettling feelings that come along (what is this place? can we even get out? why can’t we??). The building of the tension is really well paced, helped with the cycle of different days/request to fulfil, and the formatting of the text (colours + timer) adds to the disturbing/disorienting feeling the changes bring.

YARRY is a short psychological horror choice game made in ChoiceScript, in which you play as young parent named Larry, whose two-year-old has decided to call him by the titular 'Yarry'. While one could brush it off as a toddler learning how to speak (yet able to pronounce complex sounds), the game takes a more unsettling approach: the child doesn't just misname you, he is suddenly repelled by you.

From loving parent, you are, for no clear reason, relegated to a stranger by your own flesh and blood. Worse still, it seems that people don't seem to care or mind about your discomfort ((Spoiler - click to show)your wife even shows to know more than you do about your son's reasons for acting this way, but doesn't care to share or (Spoiler - click to show)the daycare employee brushing off your concerns or uneasiness as a usual period for kids that age), as if they are all in on a joke and excluding you.

And there is truly little you can do to help with the situation: no matter you actions, your son always cries in your presence, wishing you wouldn't be there. Whether you make peace with this new form of your name, pretend nothing is wrong, or fight for your identity at every turn, you are always hopeless against your environment.

It is very unsettling, that even with a change seemingly so minor (just one letter in your name not being pronounced correctly) affecting you so deeply, yet your feelings are never really acknowledged or accepted.
It questions even the validity of your feelings: are you in the right, fighting for your name/identity (fighting your child?) or just overreacting (his just a kid, after all)?
And as a player, you have to wonder: is the narrator telling us everything with regards to how we got here (the sudden change being random or building up over-time? are we maybe just exhausted as a new parent and it's clouding our judgement?) or purposefully obfuscating information (are we a bad parent? did we do something wrong? or is there something nefarious at play)?

The writing really does a good job at making you question everything, and creating this unsettling environment (where clearly something is wrong, but why are you the only one seeing it???).
However, I do wish the game was longer, where you'd have the option to confront the child, or at least your wife (even if you end up looking like a crazy person in the process), or have more situations where you name is wrong (an exchange with your family/friend?) or actually someone saying your name correctly... but as a joke! But, for an under four-hour-created story, it manages to be just enough to give you the creeps.

Contaminated Space is a short sci-fi horror-y Twine piece, where you embody a lone(ly) spaceman, dealing with the consequences of entering a contaminated space. In this lonely trip, taken as a break from reality, moving further and further away from home (escaping? fleeing?), silence and space are your only companion. Perfection found in quiet, cleanliness, and simpleness (like the overall formatting).

All contrasted with the contaminated space, quarantined sections of the universe due to their potential danger, horrors that could infect and destroy worlds. None who enter are allowed to leave. Careless with your safety in your goal to reach an impossible unsullied state, you miss every warning sign… until it is much too late.

In your wish to be alone, you are taken over by a whole. In rejecting your personhood, turning into a husk of yourself, you become a host, a filled shell for another. In your aimless journey, a purpose is forced upon you. In your deliberate want to be unbothered, you are disturbed.

This was disturbing to read (in all the best ways). The glitchy-ness of the text, jumbled/broken thoughts, the back and forth between the entities, made all the wrongs so wrong, but all so good too.

Mathphobia is a decadent puzzle fest of a text-adventure.
While your classmate rejoice in the Halloween break counting their candies, you are stuck at home solving a metric-ton amount of maths problems. As the night progress, and you are no closer to be done on time (it’s due in the morning!), you are visited by a strange character, who takes on an adventure in a faraway fantasy land, terrorised by Archfiend of Arithmetic, and… where maths is the only way to defeat them.

So you go on this adventure, where maths solves everything under the sun, travelling the land, helping folks with their measurement problems, and defeating in each region a villain specialised in one type of arithmetic (subtractions, divisions, multiplications…). The calculations starts off pretty easy, amping up in difficulty when moving to a new section of the game. While some of the latter problems may be difficult (or annoying/impossible to solve if you are mathphobic), you get as many tries as you need (or check the cheat-sheet - which I’ve done for the last-ish problems)!

The premise is really silly (but down-right tortuous for this poor child!), but the writing hooks you so easily (even if, like me, solving maths puzzles isn’t a fun time). The humour is full of charm and levity, and of puns (especially the villains, that cracked me up). It’s was downright impossible for me not to cheer for the kid, and do my best to help them save the land. And by the end, weirdly satisfying to actually solve that many maths problems without help.

Anyway, it was silly fun (that made me do maths against my will, gasp)! I’d even recommend it to tweens.

Ghost Hunt is a tiny Adventuron game, where you must find and catch the ghosts of long passed family members (all because you wanted to use a casket as a decoration for Halloween). Since catching a ghost is not an easy affair, the ghost of your great-grandfather gives you a box that will do the job for you, if you manage to find the ghost in the first place.

It is a pretty simple parser, with a very limited map and verb list, and generous directions on how to proceed with the descriptions/responses. It’s a polished parser starter-friendly game.

Boo. is a short spooky story, made in Moiki, in which you investigate the strange whispering voices you start hearing in the middle of the night (even though they keep asking you to leave).

While the search is fairly simple and to the point (the main block in the path can be resolved within a couple of turns), it excels in creating a genuinely atmospheric creepy environment, through both the simple dark interface, sparse and uneasy background sound/SFX, but most importantly the voiced dithered whispers. The voice creeps and disappears, climbs up your spine and runs back down double speed, jumps and leaves you just as fast - making you expect it at any turn to scream until kingdom come.

This game knows what is it doing, and doing it it extremely well. It keeps you on your toes, both bare and rich in content, on point with timing, and doesn’t stay its welcome.

SPILL YOUR GUT is the third instalment of the GUT series, after GUT THE MOVIE, and the spoof GUT THE MOVIE 2: GUT ves. TER THE TWOVIES, where we check in on the original cast of GUT, Gemma, Uma, Tilla, and their manager Stace, after the movie was completed (or was it ever made?). There are four paths to follow, one for each individual, with the request to follow the above order.

Now, I don’t like being told what to do and started with Stace, essentially spoiling myself with the outcome of the previous paths… or did I?
Confused by the tone of that path (reminding me of the vibes of GUT2), I reloaded and followed the instructions in the game. Granted, there was a good reason for that.

Gemma’s, Uma’s and Tilla’s paths are completely different from Stace. While the later is in the third person, with the same interface as the starting page, the formers focuses on inner thoughts and bright, duo-tones, stylised and distinctive and restrictive interfaces. But more so, the gameplay of each path builds on the previous one: Gemma’s deep taunting red in a limited N/S direction, Uma’s cool emotional blue opening to all four main cardinal directions, and Tilla’s envious and tortuous greens adding the up/down option. All to finish with the linear definitive and decided Stace section, looping us back to the start.

But the contrast is not just in the visual and gameplay between the paths, but also in its content. The RBG section is enmeshed with anxious vibes, in the way the characters talk about themselves, their fears and insecurities, and the repetition of screens (indicating the end of content in that direction). Gemma, in kill the internet, feels hopeless and lonely, and struggles to find a purpose moving forward (funnily, you can only move back and forth between sections). Uma, in call your girlfriend, ruminates over her past and current relationships, the good, the bad and the ugly, and their inability to stay emotionally connected while with someone (her thoughts littered in a maze without much sense). Tilla, in sell your dreams, hides her true feelings (about the movie and herself) behind a criticism of society, which she has left being by moving to the Moon (layers discoverable by taking the elevator). Each are tortured in their own ways, either barred from opening a specific door, or unable to ever find that wanted exit.
On the other hand, Stance’s section has a more absurd take. She isn’t riddled with insecurities or worries, only caring really with eating chips. She flips the script on its head, going against the expectations, taunting the monster instead of being taunted (who breaks itself and sorta the game), unbothered with the change of/breaks in the environment or herself - as long as there are chips, she is content.
This contrast is made extra obvious with the repeated “I am lonely/scared/tried” screens in RBG, which Stance’s action can be reduced to “Eat chips”.

Strangely, though most of the game is very different from the previous iterations of GUT, it is surprisingly still much in line with the series as a whole. Through RBG, you are forced through these anxious-riddled paths, tortured along the characters, unable - like them - to escape (unless you reload the page), stuck in their head… Only to return to the absurdity of Stace’s section, greatly enhanced as it calls for the opposite almost of feeling. Stace is never stuck, whether she acts or not, circling through a death/rebirth unending cycle, always moving, and changing - while still staying the same. Stace is both the anchor of RBG, and the much needed comedic relief.

A third opus I didn’t know I wanted or needed. Neither better nor worse than the previous GUT. Only leaving me with the want of more sequels!

This game might be short and concise, but it is quite well-written, impactful and heartbreaking. From the start, there is something not quite right with your son's interruption of your sleep, even if it is a yearly occurrence. Things just don't quite fit all to well, especially when your daughter appears or when the mother is mentioned (in hindsight... 🥴). But is is not clear until the end what is truly going on here. What seems at first like a slice-of-life with some spooky halloween aspect, turns downright terrifying. The reveal is not only depressing to internalise, but the implications are frankly hitting much harder than what you'd expect from the blurb and warnings. The final choice is, again, heartbreaking, whichever way you choose...