Reviews by manonamora

The Whisperers is an interactive game set in the late 30s Soviet block, where you are an audience member of an interactive “propagandist” play, of three “families” living inside a paper-thin-walled apartment. Throughout the story, you are asked for your opinion on how the play should continue. There are essentially 3-ish possible endings.

I personally hate plays where the audience needs to take an active part of the story, where immersion is broken because the audience must have a say. But as an interactive game, I’ve quite enjoyed it! The active participating is not only welcomed, but adds another layer of intrigue into the story (at least in this case). The awkwardness of waiting for the play to start again is not there, as the passage loads right after your choice is made.

As for the story, a morality take in two acts, it made me think of those typical contemporary French plays happening within an apartment, where miscommunication and personal drama becomes the crux of the issue. While it is not as vaudevillian, with the play set in Soviet Russia during Stalin’s regime, it is nonetheless cynical in its treatment of its characters. No one is good, no one is bad, everyone is stuck in their own situation (and some are maybe a bit stupid*).
*the characters felt at times a bit flat, or a bit preachy in how they discuss some topics.

If you take it at face value, it’s a pretty neat experience; and if you look deeper into it, it shows off the extensive research on the setting and the length taken to portray its intricacies, the horrors, and the hopes. It felt a bit like a commentary of the period. The play is fairly fast paced, and doesn’t overstay its welcome, ending just at the climax. The interactiveness of it is fun, with your choice mattering or being disregarded (depending on the mode played) – it could have been fun to learn whether these choices affected your position.
I found the hidden ending to be the most fun one.

But, I did have some issue with the formatting of the text itself. While I appreciated the inclusion of formatting options, with palette themes and text font/size*, it made it obvious when an aspect was not customised (link colour not contrasted enough, popup). But that’s a detail compared to…
*it might have fitted more inside a Setting popup, the buttons’ colours were too eye-catching.

… the passages not looking like an actual script. From the blurb to the game itself, it was clear we were meant to look forward to a play on our screen. But the text is vaguely formatted like one: the Act is centred on the page, but not the scenes or the character’s names; the actions or voice level* are made obvious in brackets, but end up feeling lost inside dialogue (especially in the Guide’s and Sergei’s monologues)… It might seem like a detail, but the essence of playwriting felt a bit lost because of it?
*the whispering aspect kinda felt like an afterthought after the first scene? The voice level of the characters didn’t seem to matter much in further conversations…

Visual friction aside, this was neat.

Glimmer is about a person spiraling in helplessness, having a hard time to function around the bleakness of their situation. It is also about hope, and the importance of having caring people around.

The game is simplistic in both style and visual. A few lines of text, one choice, maybe some extra interactive links to add description. It is straight to the point. The world is bleak, so you turn your back to it. You face some hardship, so you avoid them. Little by little, you close yourself to everything around you. But, at your lowest point, a hand reaches out to you to pull you out of your funk (forcibly if you resist), reminding you that there are still good things out there to enjoy.

I thought the game started out strong, with tackling themes of drifting and avoidance turning into depression and isolation (though it felt at time a tad too surface-level in its representation), when faced with a bleak world and difficulties in your life. The whole losing your joie de vivre and vicious cycle of negativity.

However, I found the whole second act... dissonant almost? In your darkest moment, an unnamed friend* barges (back?) into your life, gives you a cup of tea and a biscuit, and like that, you snap out of it, awkwardly and timidly claiming you tried to get better all this time. When the first part of the game implied quite some time had passed between the first event of the spiral and current time, it feels like a whiplash to have a "recovery" happening so suddenly. This feeling was aggravated when choosing to resist the friend's pleas does little to change the outcome. As if by magic, you get better by the last page. After just a cup of tea.
*I really didn't like that you would not even acknowledge their personhood, I think that's also a reason why it felt weird.

I still haven't made my mind about the (lack of) choices and what it means for the player agency. I've come to appreciate more the kinetic approach of storytelling in IF, and considering how debilitating depression can be, making you think you do not have a choice, it is thematically in line with the story. However, the few available choices lack in consequence or are essentially disregarded by the story, which makes the little agency the player has essentially useless. It felt a bit frustrating and unsatisfying.

I did appreciate the message the game was trying to convey, but I don't think the game quite manage to get the point across.

Set in a psych ward, this very short dating-sim will let you explore the building, meet different Edits and Nikis. Some of them even invite you on a date after some extremely short small talk. There are four possible endings.

I appreciate shortness in games, the ones that go to the point and don't waste time with meandering or going around the bush. Being able to tell a complete story concisely is an impressive skill. But not every story can be or should be told concisely. Some need a bit more fluff to tie parts together. This is one of the issue with this game.

4E2N is actually a remake of The 4 Edith, a Twiny Jam entry of less than 300 words. This game ditched the pictures, changed the Edith into Edit (or was it a typo?), added Nikis, and fluffed up the small talk between the characters and the descriptions of the environment. Even adding an extra choice at the start.

Going into the psych yard, you are given a choice between entering the building or stay outside a bit longer. This can be repeated until a resident come bother you about a topic you don't seem to care about. Inside the building, you can visit multiple locations, each populated by one of the Edith or the Niki. Small talk ensue (or not), before you move on to another location. Once you feel it is time to go home, you are presented with four locations, each where you meet again an Edith, prompting the ending of the game.
Aside from getting extra locations, you are able to go back and forth in the history to see other endings without having to reload the game.

Still, the remake feels off. The pages have many typos and formatting issues (especially when it comes to naming the Ediths - Even the title of the game is unclear on whether it is Edit or Edith) and lack of consistence (the characters pronouns or POV). Meeting the different characters feel incredibly shallow (is that the point the game is trying to make? I mean who goes dating in a psych ward), and neither endings feel satisfying, or much fun. One major issue I have with the remake is the addition of the Nikis, only to be told in the final choice The Niki are not yet/no longer available…

In terms of the gameplay, aside from the game not even registering whether you've met the different Edit(h?)s or the Nikis, there is not much to it. Your choices feel quite inconsequential and hollow. It could have been nice to see you accept or refuse a date, bringing your date to a different place, or learn of what happened to the other dates if you didn't meet with them.

The game feels quite unfinished and incomplete, the story even in its shortness is both straightforward and confusing. After replaying I wasn't sure whether I was a resident of the psych ward or whether the Edits and Nikis were truly human.

Was there something in the game I just didn't get? Or was it submitted as a bad joke? I don't know...

This is a Post-Comp Version review. Also maybe biased because I really like Autumn's work.

In a far future, after centuries of conflict, the Earth's population has been reduced to small communities stuck inside arcologies (city domes). In one of them, lives Em, an Archivist (sorta), trying to survive the best she can (sorta), and maybe (re)form relationships to better her situation. Throughout the game, you must ensure Em is on top of her duties and health.

As with her other Dendy games, A&R works in layers. On the surface, it is a resource management game, where your savings, energy level (hidden), mental and physical health (hidden) must be minded when organising one's day or spending.
While you have agency in this, how far you can go with the different actions will depend on whether you've unlocked certain storylets, or Em's current health at the time. Since she has chronic issues, you won't be allowed to churn through hundreds of files for your job, or even do anything at times.

Underneath, two other mechanics come to play: the relationship/storylet aspect with Em's old acquaintances, and the archiving loop, Em's job. Both will affect Em's survival (savings/health) and the ending of the game.
The first is relatively similar to Autumn's previous Dendry games, in which a side-story will be parsed throughout the game, requiring the player to meet specific characters multiple times to uncover the story at large. In this game, clearing more than one path in a playthrough is quite doable.
The latter is a mechanic I had not really seen before in an IF game, but one I enjoyed greatly. Your job entails decrypting and archiving files, each with a specific code (hint hint), requiring to be either placed in a specific slot or discarded (or you can keep it for yourself). Combing through the documents were quite fun.

The first time I played the game, I thought I could survive all on my own, leaving past relationships where they were, focusing only on my job and keeping myself afloat. I remember it being incredibly stressful (I almost cried when Em was on the brink of eviction). Everything felt hopeless, and the almost-clinical-at-times prose, as well as the UI, accentuated that feeling.

This time around, I followed Autumn's advice and shamelessly begged my acquaintances for money. I didn't want to recreate that very anxious feeling I had the last time - and wanted to see what else I had missed. Indeed, it was much less stressful to go through. I didn't really have to worry about money (thanks A-), I didn't have to exhaust myself with work, and I could explore more different facets of Em's life (her past relationships, herself, how she had to navigate the world). The world is still wretched, but there is more hope. You almost believe that surviving through it is... doable.

The storylets manages to offer a bit of levity in this wretched world, in which Em can find a community helping others, rekindle her relationship with a (re)closeted trans person, rekindle her relationship with her ex who you had a child with. In (re)making connections, you can learn more about your past and how you (don't) fit in this world. You can go on a date, cook with someone, spend time with your child... have a "normal" life.
I quite enjoyed how grounded and raw these storylets felt. They, at times, seemed like a commentary on our present, with the tribalism of social media, the lack of trust in the news, the grueling life under capitalism, and the treatment of transfolks. Strip away the sci-fi/post-apocalyptic future, and they could could be right at home with our current time.
I still hated the news part... its description changing the 'a form of self harm' was on point considering the comments...

Even if you don't interact with anyone, you can still learn about the world and your place in it through the notes (essentially a Codex page) or DNA files you decode. From old recovered chats between yourself and other characters, science articles, old journal entries, and documents regarding the Arcology's founder - Liana -, you can build together a bleak image about the world, the state of the environment and human condition, filled with disenchantment and conflict.
Depending on what you do with your day, you may find some Easter Eggs, like the TV Series you can watch or the Games you can play, little winks to Autumn's other games. Some characters of the game, made obvious by their names, share a resemblance to ones from the Pageantverse.

With the implementation of the Autosave, I was able to reach a lot more endings than the first time around, especially less bleak ones, without having to replay the game. Those endings are highly dependent on the actions you took during the game, some being sweet (especially with K-), some being maybe critical (imo A-'s, Alone), and one specifically blew my mind (Ending 1 - didn't find before).
Ending 1 is by far the most interesting one in my book. While it might seem a bit like a Deux Ex Machina or coming from out of nowhere (depending on your playthrough it may feel like a whiplash), it is the one that has not left my brain since I've replayed the game - maybe because of how strikingly different it is from the others. I think this ending might work best if connections with other characters were not made. It also made me wonder whether Em's life would have been that different if her arcology was still in contact with the others, or whether contact was severed between all arcologies. Honestly, it brought a lot of questions about the world after reading through (sequel of Ending 1, when?).

I don't know if there is a point or a moral to the game. If I were to give one to it, it would be that communities are important for people to thrive, maybe even necessary, and that the world can be a very difficult place when you keep to yourself, worse when your situation is dire in the first place. Even if it seems bleak, there is a glimmer of hope and goodness there...

To this day, I am still baffled about how this game was able to recreate the vibes of Tumblr fandom from the 2010s (I shouldn't be surprised considering Autumn's references). From the old Tumblr Blue to the very virulent fandom conflicts, or the fan-organised conversions, or the always-left-behind character (sorry, Tycho), APBW perfectly encapsulate a prolific time of fandom culture.
It was kind of nostalgic to me, having lived through quite a bit of the Supernatular/Doctor Who/Sherlock shenanigans... Though I was not really into the fanfic side of it all.

But APBW is more than a snapshot of the very fascinating ecosystem of Tumblr fandom. It is also a commentary* on how the relationship between a piece of work and its fans change overtime, especially when a ripple in the fanbase, like a mundane headcanon post, creates a storm as the author of the work gets involved (and not for the better). Raising questions (but not answering) about what fans would do in this situation: do they keep on enjoying the work that is so deeply personal to them (maybe even have helped explore their identify) or do they disavow it completely; do they band together in support of the victim/targeted group or do they have a blasé attitude about the issue; do they try to keep the fandom community alive and stand as one or do they become fragmented**;...
*might not have been the author's intent, but this was my perception.
**the death of fandoms are... something. It was very bittersweet to kind of relieve it.

It gets even more shocking/impactful when the OP of the post identifies as trans and the author goes on a (inter-?)national broadcast spewing transphobic rhetoric, leading to the teenager being harassed and abused. The fandom (and online communities at large)'s reaction is very troubling, but neither new not surprising. From the hard-core fans who will support the author no matter what, the ones who will question any actions trying to show support for the targeted group (like a boycott), the ones who will not engage with the drama, or the ones who roll their eyes at it because they were calling out the author all along... this is a real thing that happens. And is portrayed in this game with all the visceral intensity you'd find on Tumblr/Twitter/other social media.

Even without the author (GTM) adding onto the fire (which was already sparking before their disgusting action), the games portrayed the parasocial relationships between the fandom users, how even adults can get caught up in what people would think as petty teenage drama, or how being online is not just an escape from IRL problems, feels very real. I have personally seen those call-out posts between fanfic authors about plagiarism, those fake-pologies to calm down the fandom in hopes everyone forgets, the "kid-friendly" spaces still filled with inappropriate/problematic contents, the Discourse, the fights between people not following the conventions of interaction...

Even if the online characters are based on tropes, they all have their stories to piece together: the self-proclaimed fandom mom, whose chronically online presence hides her avoidance to live her life truthfully*, the supportive adult who plays a double-role to take down bigger name accounts, the always critical-puts herself in the discourse-calls out the shitty stuff-overall is kind of a bummer (but a correct bummer), and the kids who just want some space for themselves. I have followed this people before (have I been those too?), I have had those weird-ass URL, I have been in those fandom fights... It was not just real, it felt being right back in those communities.
*I really didn't like Claire, but the more I've been thinking about their arc, the more I find her arc compelling. Her shitty actions still isn't fully balanced by the end, but there is some steps taken in the right direction.

And then there is you, the player, trying to navigate the dumpster fire that is the Nebula fandom as you want to reach your goal of writing a fanfiction* and gain a bit of notoriety (I did manage to double my followers count in this playthrough :P), balancing your relationship between the different users you follow, and your relationship with the Nebula universe. You can choose you name, your pronouns, your URL, your favourite character, your ship, the reason why you are creating fanfic, and what kind of post your blog is filled with. But your character is not the focus of this game (the above paragraphs are).
*I, of course, titled mine A Paradox Between Worlds.

This PC-is-not-the-MC is reflected in the fanfiction you are "writing", as each part reminds you/Gali this is not your story. Gali moves on from one universe to the other*, finding different versions of [their] friends entangled in trope-y AU (Alternate Universe) and feeling out of place/alone/like an outsider every single time (like You the player might feel this way in the Nebula community). Your actions defines the ship you have in your writing, as well as the quality of the writing. The focus on senses at the start of each new scene made me giggle a bit, from a parser "player" perspective.
*the multi-verse take was so meta, with APBW having the Canon/Fanfiction/Online universes in play. Autumn, your mind!!!

As the drama of the Nebula community unfolds, you find yourself struggling with writing/finishing the fan-fiction, reflecting on the feelings you have about the series itself considering the author's comments. In my playthrough, I pushed through, and found... myself, as the Destroyer (the Nebula baddie), meeting Gali, reminding [them] it is not [their] story, telling [them] the story is about to end, that maybe it should never have existed in the fist place... and that maybe you learned some lessons along the way... Writing the last part of the fanfiction hit me like a ton a brick, and made me question how I have consumed and created content in the past.

Finally*, there is the Canon. Each movement/chapter starts with a snippet of The Chronicles of the Shadow Nebula to contextualise the fandom, but also give some sort of preview of what is to come in the Online universe (very much a Cassandra vibe to them...). Though the author has mentioned the influence coming mainly from Homestuck**, I found more similarities with other YA universes (HP***, Divergent, or any YA-series-with-a-house/class-system-having-to-fight-a-big-baddie, and even a bit of the Hunger Games...). I dove into the codex in the stats page and devoured it, finding nuggets of gold and trying to link it to works I knew. One of my favourite bit: the Selene Dione character who is a Hannah Montana parody.
*lol, i've organised this in the reverse of how you experience each part in game...
**that's mainly because I never got into Homestuck that I didn't pick up on those references
***especially the main gang...

I don't know how to conclude this review. So I will leave with the final chat you can have with the gang: no one goes through character arcs like the books, IRL is messy and not everyone wants to share this part of themselves online, growing up is hard but so is growing apart from something that was important for you, moving on is also part of life...

So yea...

Go play this game.

~~ Updated Review from the 2022 IFComp bc I played the game again ~~

Approaching Hordes! is part Choice-based, part Resource Management in a basic SugarCube UI, following the player has he leaves his infected family behind and tries to survive hordes of zombies.

The game start with a short prologue, spanning a couple of days, where you notice an increase of gunshots in the neighbourhood and order your wife to check it out (day 0); wake up, find your neighbour informing you of the zombie apocalypse, find your wife having turned into s zombie and Mike-Tyson-punch her, and set up camp (day 1); constructing a guard tower (day 2, very quick); and becoming unanimously the leader of the 11 survivors (day 3).

Then starts the Resource Management. At the time of the first review, I had not seen many Twine games doing something that was not Choice-Based (aside from my own little tavern). Instead of taking the traditional approach of a choice list to resolve issues, Approaching Hordes! combines the Idle game format to managing the compound and its resources. It is an interesting way of pushing the SugarCube/Twine engine in this manner. You have three levels of difficulty. I've played only on Easy and Medium.

However, it soon becomes tedious, and I would put the blame on the idleness of the game. Resource management is very fun, as having to balance the use and harvest of set resources can be challenging but also quite rewarding. Idle games, on the other hand, often requires you to step away from the game and leave it on in the background. Except you can't do that here. Closing and reopening the game brings you right back to the moment you left it. Leave the page idle for too long or change tabs and it just... pauses. You have to keep the page open and focused, watching the bar fill up slowly.

There is nothing else to do in the meantime, no extra story, no dialogue with the other survivors, no personal thoughts... just sitting at a desk and moving people around.

Granted the first quarter(-ish) of that part is a bit stressful. You only have 10 survivors with you out of the max 50, you need to make sure you have enough food, that there are guards around, that the compound is secure and repaired, and that the camp is happy. But as soon as you max out the survivors (which can be preeeettttyyyy quick), you are essentially done. It's just a matter of moving a few of the survivors around to the relevant ending (escaping or cure).

The first time I played the game (during the IFComp), I got incredibly bored and just let my survivors die/leave camp halfway through (all forced to build that tunnel, waiting for the end link to appear on my screen (I think I got a bad ending). This time, I tried to be more diligent and finished the zombie cure. But by jove was it tedious. I was legit writing this review at the same time to fill my waiting between moving one or two survivors around.

Depending on the path taken (win/lose - cure/escape), you will have a bit of a different ending from a news-cliping, before you are able to see the different important steps of your journey in a notebook. But those are just two screens. And after spending all this time waiting and clicking stuff every few minutes or so, it honestly felt unrewarding (especially when I freakin found the cure!!).

Suffice to say, it still didn't tickle my bone the second time around either...

Some other points:

* there is humour in the text, but it really wasn't to my taste. The jokes and the nudges fell flat or forced. It often made me cringe, but not in a enjoyable way.
* I still don't know if you are supposed to like the protagonist at all (from the text, I don't think so?), but I thoroughly hated him. He is an absolute dick (especially to his wife) but somehow everyone thinks the sun shines from his ass (how you get the leadership still astounds me).
* I wasn't particularly moved by the prose, and often felt a bit uneasy by the tone flipping too abruptly from comedy to action to "horror". Part of it is probably because I loathed the protagonist.
* while the visual was simple, there was issues with refreshing the page (which reloaded everything) and with the contrasting of the text (especially when choosing the action in the resource management block).

As a proof of concept (Resource Management Idler in Twine), it worked. This game really tried something new (in my book) with the interactiveness and that should be commendable. But the fiction of it all was really eh.

~~ Updated Review from the 2022 IFComp bc I played the game again ~~

You are Bubble Gumshoe, a detective on the scene, tasked to solve the murder of Gum E. Bear. This funny parody of a detective mystery will leave you with a sweet tooth, or a cavity...

Replaying a puzzle game or mystery game is difficult, especially when you know the solution. What is enjoyable is trying to catch all the little details you may have missed in the first round.... which was a lot in my case. The first time I plated WSGEB? I accused the first person I interacted with out of frustration and won the game. Soon after I started again, tried some different commands, accused someone else, and called it a day. Still, there was quite a bit I missed.

As Bubble Gumshoe, you get to investigate clues around the body, examine the 3(5-ish) other locations, ask questions to the NPCs in each spot about clues or other people (or some other semi-related topic). And finally accuse who you think killed Gum. There is also a small puzzle to unlock a room.

The whole concept of parodying murder mystery by setting it in a Candy-land world is honestly hilarious to me. The game really goes in the tropes of the noir-themes, with the hard policeman, the femme fatale, the mafioso hidden behind a locked door. Amidst the puns galore, the dark and gruff background is contrasted by the very sweet names and humourous descriptions following an action (trying to taste everything, even myself was very funny - light cannibalistm).

After a few action, the header displays different bits of text, either related to the setting (It’s always nighttime in Sugar City.) or about how to play (telling you to smell or taste things). But I think there are only 3-4 variations before it repeats itself...

If you are in a location with a named NPC, every time you input an action, that NPC will do something (Officer Donut will click his pen, Candy Kane tries to mix some cocktails...). Those are funny little details, especially when you remember all those NPCs look like some sort of candy.

My main gripe with the game is how obvious who the murderer is: the only person who can hold a gun. And while you can go around the other spaces and question everyone, the NPCs are not the ones giving you an relevant information, the added text under the action description is. Even reading the description of the Alley should give you the answer (you could solve the mystery in one turn). The Who-dun-it seems very shallow when the answer is just right there.

Some other stuff:
> while this parser is pretty short and mainly uses five verbs (examine/X, ask, take, smell, taste) and the cardinal directions, it does not have a hint or help command (and lacked a walkthrough until now). You need to have a bit of parser knowledge (or the parser cheat sheet).
> there was some inconsistencies with the dialogue regarding the use or not of quotes or with the capitalisation of words. It might be nitpicky, but it did confuse or annoyed me me a bit.
> the game also put some spotlight on objects, but does not make them interactable (cigarette) or miss the options for some fun action (getting a drink at the bar).

Still enjoyed it more than the first time around :)

~~ Updated Review from the 2022 IFComp bc I played the game again ~~

The Staycation is a short game about loneliness, psychosis? and a confusion about which genre/type it is supposed to fall in. The player is set to stay home while their housemate goes on a trip with her boyfriend. It becomes an opportunity to do whatever you want... or is it?

The Staycation marketed itself as a horror slice-of-life, as you are forced to endure a nightmarish ordeal, forcing yourself to question your choices (a.k.a. you hate being left behind and alone). I personally enjoy psychological thrillers/horror, but I was disappointed to find the game didn't really deliver on either the horror or the slice-of-life aspect.

This time around, I also went through the game multiple times, and exhausting all limited options (helping your roommate with her luggage or leave her to deal with it, interacting with her or her boyfriend or ignoring them, enjoying yourself with a book or scrolling down your feed, and the final choice <- that is really it). Yet, it felt like the horror was only superficial and the slice-of-life very minimal. The final choice (making you realise you should have not stayed home) feels very underwhelming, as the hints of some past trauma and self-harm really comes out of nowhere...

As for the slice-of-life bit, the premise talks about days alone, but the story only seems to account for one (the one where your housemate and her bf leaves). Either the player's nightmare happens for days but it is brushed over, or there was a typo somewhere. This honestly added to the underwhelmingness of the piece. A build up of strange occurrences while the player goes about their day (with some more hints of their worries) would have made the story more poignant, in my view.*
*it was mentioned in the Forum during the IFComp, that the submitted Texture games were part of a workshop which lasted three weeks. It would not be surprising that a lack of time went into play for this bit. Still, other Texture entries did succeed to have a stronger story...

Still, there were some glimmers that helped the game. First, the illustrations were a nice touch, especially during the "nightmare" sequence. It really helped the horror aspect. I also enjoyed how calm and comforting the game picture was. Almost reminiscent of those pulpy book covers

Secondly, the use of senses as actions was a great choice, especially for the horror theme! Even the focus on strange smell (with the incense) or the peculiar noise (of your car) added to the uneasiness that the story was supposed to convey.

And finally, the formatting of the choices stood out among the other Texture entries of that edition of the IFComp. The Staycation is the only one using emoji in the action boxes rather than text. Honestly, kinda brilliant.

~~ Updated Review from the 2022 IFComp bc I played the game again ~~

Under the Bridge is a fairly short and contained game, with 4+ endings, with a heavy themes of otherness, exclusion and survival. Playing as some sort of lonely eldritch abomination, forced to leave the comfort of the forest to end up hiding under a bridge, your main task is to survive. Peering above the bridge might bring sustenance or deadly confrontation.

Through the otherness of the main character, we get to see mundane aspects shown in a different light. The writing brings a strange uneasiness to the setting, from the large eyes of the frog to the stomping of the armed men. With how other characters react to you, you can't help but feel unwanted.

While the writing focuses on the senses and basic description of elements, there is something very unnerving about its simpleness. The use of 1st plural POV brings questions about who the player is supposed to be: are we but a lost monster or a collective? Is our loneliness turning us mad? It makes for a horror moody piece, enhanced by the darkness of the UI and the choice of animation and formatting of the text.

I really enjoy the addition of assets into this game. The different SFX added to the text, bringing the setting into life, with the wind rustling the branches in the forest, the sound of water flowing by the bridge, the threatening footsteps of the guards... Similarly the illustration, especially of the monster, helped to bring forth the horror-y aspect of the game.

Through the binary choices, you get to interact with the different characters approaching the bridge, with interesting variation for each. However, it is after you reach the end, that things got a bit... dull. You are prompted only with a Play Again? link, sending you right back at the start. If you are replaying the game as soon as you reached the end, you have to go through all the non-choice passages, and things get repetitive pretty fast (the variation only happens on the passages right after your choice or just before an ending).

I also had some little issues with the styling of the game, especially with the sizing of the page or the obtrusive sidebar.

~~ Updated Review from the 2022 IFComp bc I played the game again ~~

Harrold and Jaime, a cute mice couple have a weekly tradition: going to Esther's on Saturdays to have brunch, ordering avocado toast and mimosa. However, Jaime is tired of Esther messing their order every time, only serving cheese for the two mice. Today's about to change.

Through a series of choices, forming a puzzle to circumvent the communication issues between the mice and Esther. The girl not speaking squeak, the mice have to find other ways to get what they ordered.

While this might sound like a hassle, there is no way to fail the game, since the choices railroad you into getting that mimosa and that avocado toast (and the pudding for dessert!). As an adult playing this, it might not feel as entertaining to get pushed down a path, but the target audience seems to be for young children.
This is also made extra obvious with the large BACK option on the left corner of the page, that one can undo actions at will.
With that in mind, the game is a delight! It is simple enough, with a distinctive tone, an illusion of agency for the player, wonderful illustrations one could find in Potter's or Dahl's books, and a tight little bow wrapping the story at the end.

Further than the gorgeous illustration, the formatting of the game is very reminiscing of children's literature, with the type-print font and the page-like formatting, the characters' names coloured according to their design, the little avocado indicating a potential action. It is a well-thought out and executed short game.

There is an extra at the end of the game, with snippets of behind-the-scenes, with the constructions of the paths to the different illustration drafts. It truly is the cherry on top of a well constructed and delicious cake.

The only downside of this game is its shortness. 5 min gives just a taste of how lovely the characters are, but leave you wanting more. You know those two mice would get into more shenanigans, and you really want to read more of it when the game ends...

This is worthy of a Sequel, at least, or a collection of mini adventures (if the authors ever decide to do so...)