Reviews by manonamora

Goncharov 2073 is a fairly short stylistic linear piece with one small choice, set in a not-so-far and not-so-implausible future, in which Goncharov is a movie written by an AI, rather than the illusive and very human Matteo JWHJ0715. At the movie premiere, you and a group of activists will try to derail the event as a protest. Will you truly succeed?

Following Kon - not their real name - you oversea the smooth running of a project started months prior. Due to the significance of the event, the first ever screening of an AI generated movie, it is of the upmost importance things go the way they should. One small mistake and it will mean the end of the team. Things often go haywire on sabotage missions, and it is never when you think it might…

While the entry might seem to follow tropes of sabotage missions, delivering the tension at every turn, having the blasé handler, or things not going quite as planned, it is not much of the story or the meme that is most noteworthy, but the messages behind it. It should not be this surprising, with the author’s other games often having quite a bit to say or critique about the state of things.

In the past years, there have been increasing talk about Artificial Intelligence and its use in different industry. Recently (as of this review), it has been found that Entertainment Companies have been looking into rendering the likeness of background actors and using AIs to render them in the final project (without needing them on set). The use of AI software to render text or visuals is becoming more common, even going as a replacement for employees. It feels a bit hard to remove this topical aspect from the story of this game: an AI has written this movie, an AI is controlling the likeness of a (probably) dead Martin Scorcese…

The onus is not really put on the AI here - it is just a tool (and not a reliable or great one at that, if the comments about the movie are to be trusted*). The game takes a hit at the companies behind it, the ones using the tool, the ones actually profiting in this endeavour. *or that could just be making fun of the meme, whose lore is often contradictory.

In-game, the rules around AI use regarding using the likeness of someone cannot be done without their consent, a fair system… if it wasn’t an op-out one. The rules don’t seem to apply to people who died before the system was put in place - ruling impending - which explains the presence of a holographic Martin Scorcese at the premiere. Still, you have a sense that regardless of the legality of the tool, those company would try to find a way to use it anyway…

The criticism goes even clearer with the reveal of the activists’ manifesto: the technological advancement is not the problem, capital endeavours are - butchering, making almost a mockery of creativity with their generated “work”.

On the other hand, the game does not shy away from critiquing the actions of the activist group, showing that the sabotage of the premiere would not only shed more light on the movie, but ensuring its popularity at the box office - people who might not have cared about would come in flock out of spite. Activism is hard: there is no one way of doing things, actions can backfire, and you could be going against organism so large your actions might not even make waves or get you quite a bit of retaliation. Replaying the game to see the different option of that choice may hammer on this aspect…

With its title reminiscing of the Blade Runner sequel title, or its dark and gritty UI (a bit à-la Metal Gear Solid - very very cool), and the messages above, the game gave me vibes of Paul Verhoeven movies.

Goncharov is a fairly short stylised kinetic piece, presenting itself as an adaptation of the “original” movie, through snippets of different critical scenes, as defined in the meme lore. Though, you could play the scenes chaotically, by doing a random order for examples, the story is best enjoyed when followed chronologically.

Above a usually animated background, dialog boxes pop up on the screen, typing out descriptions of the scene or the dialogue between characters. Locations, time and present actors are visualised through small screenshots - the character sprites do not change from scene to scenes, so it is easy to recognise who is who.
Depending on your setup, the animated background and text may lag.

A few scenes in, you get the sense that something is not quite right. Maybe it is because each scenes have very few words, or because they lack connection between each other. Their succession from the listed menu makes sense, but it is clear there are gaps between each scene. Or it could simply be the game trying to send you off track, like any good intrigue movie: nothing is truly as it seems.

While the end scene is quite something, the truly interesting part of the game, in my opinion, is when the credits roll. We sort of leave the realm of the movie and the canon, to have a more… meta discussion. Some criticism mentioned above, as well as potential failings of both the game itself and the meme at large, are discussed through two viewers of the movie you just experienced through the scenes. These criticism, from the lack of coherence to the missing actions, are linked to discourse that happened around the meme (though in-game, the discourse is about the movie).

You could take this final conversation at face-value: two friends watching a movie and discussing it when it ends. Or you could look at is as a discussion of the strange phenomenon that was Goncharov - the meme. Taking the internet by storm, it spread without rhyme or reason, with many users contradicting each other with sequencing, lore, or details, as they made up their version of the fake movie. As a collective, we all made the “movie” happen, each adding a scene or lore, trying to make our voice heard through the sea of creators participating. Maybe we were all Matteo, in a way, directors of Goncharov.

Like other entries in the jam, Goncharov: Coda takes the movie-making approach to the Goncharov mythos, where you play as an actor in a “contemporary remake of the film”. Playing as either Andrej or Sofia, the story will take you through the re-enactment of relevant scenes, where you can showcase your wits and line delivery. After all, you are here to honour an unprecedented legacy…

The game starts with the first table read of the screenplay, introducing the team working on the remake - many of the characters having funny pun-y names (especially the director’s name). It is at this point you get to choose which path to act (Sofia or Andrei, supporting roles), and where the first scene sets off.

Though you have two distinct paths, the game is built around bottlenecks. Both paths will share scenes (first and last, disregarding some variation), and out-of-character beats (in-between shooting scenes). The central part, however, is highly dependent on the path chosen, as each is set in a different location, follows a different group of characters, and focuses on different themes (or take on the theme).

The played scenes follow the “canonical” sequence of the “movie”. Starting with the Goncharov’s imminent arrival in Naples, the play indicates the start of new relationships (namely between Sofia and Katya), hints at a change in relationships (Goncharov and Katya), and questions other relationships (Goncharov and Andrei). The middle scenes will continue with this theme of relationships, focusing on how these relationship can also change a person (important especially for Goncharov and Katya), as well as hinting at the culminating fight up ahead. It all ends with the infamous bridge scene, the showdown to end all showdown - I did find that scene confusing, I think there are some flashforwards(?), it’s pretty chaotic.

Another important theme hammered on from the start is the one of choices, or lack thereof. The director of the movie makes a point to remind the player to “Make. Meaningful. Choices” at the start, when improvising certain lines. The middle scenes interactions between Katya and Sofia or between Andrei and Goncharov also emphasise on the choices we make, where they lead us, and the consequences of those choices. Sofia reminds us that choices can set us free, while Andrei will show that other factors, like loyalty, will force our choices to entrap us. It is interesting to see that our choices can be both meaningful and inconsequential to the story.

While it seems like the game is a very serious and maybe dark affair, the game is nothing but. I already mentioned the pun-y names at the start, but the humour doesn’t stop there. It also appears in lines to choose from, with funny one-liners; sarcastic descriptions of locations, reminding you that you are totes still filming the thing; or the almost deranged behaviour of some characters, the director especially had Dean Pelton (Community) vibe. Even the final passage, which is a bit sad when you think about it, was quite funny. I was chuckling throughout the game.

A final point should be spent on the care spent on the UI of the game. Looking like a movie script sitting on a table, with the Do Not Distribute warning at the top, the UI will use screenplay formatting to distinguish between reality and the played scenes. It even goes further as highlighting the actions and lines of the character you are playing (like with a real screenplay) - it must have been a pain to handle all those indents… The UI is pretty smooth to use, especially in fullscreen.

Told from the point-of-view of Sofia, Someone Else’s Story takes a look at the start of the relationship between two side characters: Sofia and Katya, two women linked to big characters whose actions will drive the “story”'s plot. Spanning a conversation, you were tasked to extract information from the lovely newcomer. Will you managed without her noticing?

Someone Else’s Story is a fairly short game mixing choices, to drive the conversation forward, and hypertext*, to provide additional contextual information to the scene or about Sofia’s state of mind. Each choice provide variation in the next screen, with some even adding an option to the choice-list. The combination of all choices made throughout the game will determine how the conversation between you and Katya ends.

To get information from Katya, you must ask the right questions, in the correct manner. Though you have multiple choice available to you, from flirty to pushy, the type of questions asked may tick Katya that something is up, or may just confuse her. She will comment on the matter, before ending the conversation and leaving for the night. You do not learn, however, whether how successful you were at your task. Though, as Katya warns, when one is this expendable, does it truly matter?
(kinda yes… i always want to know how well i did.)

The game raises an interesting point, hinted by its title. Though you are the main character of this game, this short story, Katya may tell you that you are just a pawn in someone else’s story. You may drive the plot in this beat, but someone - your boss - is pushing you to this point in time, requesting things from you to further his story. You may down the line have a relationship with Katya (not in-game), but it will still be framed around other more important players - your struggles being a continuation of theirs.

Still, the illusion of agency still hods, even after replays. You may not be a major player, but the game makes you feel like your actions actually matter in this story, that they actually may change the course of the night. Even if, ultimately, it won’t - Katya will always try to change the subject, or look at her watch, signalling the end of the conversation. Your efforts don’t feel in vain.

While the game will mention a few important characters to the main lore or themes, the strongest one emanating from this entry is the concept of time. You are limited in time to find information for your boss about Goncharov before he potentially makes a move, to extract information from Katya during the party, before time inevitably cuts your effort short - when the watch strikes “twelve”. But there is maybe a more ominous limitation from Katya’s final remark: the time left before you will get hurt (if you continue snooping, that is).

I think this line summarises the game best: Your name is Goncharov. You are fifteen years old, and today is your first day of mafia school. G-TMHDS is a very short datim-sim game, dabbling with the Goncharov “lore”. Dipped in humour and sarcasm, the game gives the player a short introduction of the main players of the “movie” and their relationship to one another… if this was a Highschool AU.

Due to its short length, the game feels more of an introduction to a larger dating-sim, rather than a fully rounded story. You wake up, get ready for school, meet up with a friend (Joe), and try to talk to your crush (Katya) and be jealous of her friend (Sofia), before the game ends with a hint of a dark attraction (Andrej). There are a few choices throughout the story, each giving some humourous variation (try ditching school).

From the start, it is clear the game is not to be taken seriously. It will treat your not-so-smart question with disdain, and your doubt with deprecation - an attitude many would have towards teenagers or very naive individuals. The narrator is not afraid to call you out for stupid decisions (or as-stupid thoughts about doing something). [SPOILER]“Teresa Maria, Goncharov, don’t be such a square.”[/SPOILER] had me wheezing.

Honestly, I still haven’t decided whether this was meant as a parody of the meme or of the highschool dating-sim genre. It makes fun of both mafia tropes and of those dating-sim (as much as it can with the limited passages), juggling between the two without missing a beat. While reading through it, it reminded me of that KFC dating sim game from a few years back - I Love You, Colonel Sanders! - it is of the same tone: frivolous, humourous, and plain stupid (the hahaha this is so dumb kind). It just hits all the right notes.

I think this game might work even better in a VN form…

This last-submitted parser for the jam is a bit of an intricate puzzle, requiring the player to read the prompts very carefully to find the solution… or they will be yoinked back to the start. The game is built in one room, where the player can do different action in hopes to reach the end - a sort of Aisle meets escape room, where there is only one true action to solve the puzzle.

And so, you are an investigator (maybe?) stuck in some sort of loop (if you could remember why you are here, it would be greeeaaat), in a subway station, next to a vending machine, surrounded by some critters… and plagued by very strange and prophetic dreams (you really should take note of those).

The twist/explanation of the ending is kind of nonsensical and very trippy, very on point from the rest of the game. It is both confusing and hilarious. I’m glad I played this last.

Remembrance is an emotionally charged entry, which follows the player getting ready to put their mother’s ashes to rest. The trip allowing only limited amount of luggage, you can only choose one keepsake.

The entry deals with the themes of death and grief with delicate words, showing the good the bad and the ugly of going through the things that mattered and the memories linked to them. Though you have a choice, there is no wrong or right options there. All are important pieces of yourself, all matter.

I think I liked the box of recipe the best out of all objects. The connection between your mother and yourself felt the strongest and most emotional - I think I related to it the most. I liked the little nod of Jewish traditions hinted in there too, and the want to continue those traditions, in a way or another…

It is a powerful piece that left me without many words when the game ended.

In this short game, you are task to find not who but what has been stolen from your client. Following a party where many artists were invited, including a known thief (a sort of Arsène Lupin gender-swap meets art forger), the hosting couple found a note from said thief, a momento left behind to replace what had been taken.
But nothing looks out of place…

This was a cute moment, with some humourous jokes, and - like the author admits - feels at time a bit incomplete/rushed. I wouldn’t say no to a longer version of this game, maybe in an episodic form with different cases, and showing a bit more the investigators’ relationship.

This entry is the last Visual Novel submitted to the Single Choice Jam, and quite a visual polished one at that. Starting with a short game trailer, you are introduced to two friends excited by the re-print of cards they used to have when they were kids. Especially the very rare print of the Blade of the Overlord, a highly stylised card in an alien-like font.

In three act, the game encapsulates the nostalgia around card games like Magic the Gathering or Pokemon, and all the shenanigans around it - the special editions, misprints, the weird rules on the cards, the seedy players, the hours spent around the table opening packs and playing them, or the rich collectors who will spend thousands on the rare stuff (that was a fun nod at current event, with Post Malone buying an MGT card for $2mil).

I liked the different approach the characters have towards the game, with the one who buys into the hype and would spend all their money to get the rare cards; the one who is the opposite, only buying to build up a playing deck; and the one who is realistic about their situation, but still misses owning some specific basic cards from their childhood. The arguments set forwards may affect what choice you pick at the end, both being neither good nor bad - just very realistic.

This felt like opening a time capsule and reminiscing about the good and the bad old times…

As the months pass and people seem to move on from the health crisis that changed the lives of millions, the early days of the pandemic seem like a distant mirage of a time. Stuck at home (some of us), away from loved ones, crushed under the uncertainty of recovery… there was a lot do deal with. And this entry manages to capture a raw snippet of those early days, when there was more uncertainty about the virus and how to deal with it than known knowledge.

Set in the Pageant universe as some sort of sequel, we catch up with Karen, who obviously is not handling being cooked up at home well. From her characterisation in the previous installments, this truly feels like the correct continuation of her personality: still depressed, still a mess, still unable to communicate her feelings (or just period).

Unable to sleep, she meets up with Emily, her somewhat-girlfriend-but-maybe-not-really - Karen is always questioning labels when it comes to her relationship with others (case and point: Miri). Even with Emily’s reassurance, Karen does not shy away from falling into unhealthy choices (well, you can’t affect that part of the story). Honestly, she’s a bit of a dick there.

I’ve also noticed how similar Karen and Em are, especially when Em unloaded her worries about relationships in general, the want to both be present around people and disappear without leaving a trace, or struggling with her feelings at time and what they mean. It is interestingly very similar to what is expressed from Karen throughout the text, though Em handles it probably more healthy by actually communicating all of this.

Removing player agency from the game is not new in Autumn’s Games, often used to depict the character’s inability to perform a certain task, whether it be because of external forces (e.g. friend is asleep), physical health (e.g. can’t hug your girlfriend during a pandemic), or mental reasons (i.e. Karen is a mess) - with those reasons often styled in a self-deprecating manner (a Karen’s guarantee).

Half-way through the game, there is an interesting point made about choices. While you only have a small choice at the end, the story refers quite a bit to past actions, and how they affected others. There is a heavy sense of regret from having done some actions or failed to do those, with hindsight and time adding onto those guilty feelings. It feels so… real, and human, and it hurts.