Reviews by manonamora

Adding to the Goncharov craze of November 2022, All or Nothing (1973) takes on a meta commentary approach on internet trends, the cashing out on said trends*, and artistic creation. Set during an undefined present, we discover through snippets a group of four adults are putting together a trailer for a Kickstarter project to create a Goncharov movie, competing with other crowd-sourced project on the same idea.
*which, lol, considering the jam

The game starts as a rendition of a scene for a Goncharov movie*, being shot, formatted like a script and with a dark edited picture. You get to choose some options about where the scene goes until one of the characters yells CUT, following one of the actors fumbling his lines. The scene moves to real life (change in background and font), as the crew bickers about the production. The game will continue flipping between the dark setting while the scenes are shot and the brighter background of real life, announcing the transitions.
*which is not a real thing, just to be clear...

We are introduced to a four-member crew shooting materials for a Kickstarter campaign: Arash - playing Goncharov - the director of this whole enterprise and maybe a bit too obsessed with the project, Vivian - playing Katya - the scriptwriter who is disillusioned with making it in the industry, Tony - playing Andrey - looking for a paycheck, and Sofia - playing Sofia - also here mainly for a paycheck*.
*I think? It's not as explicit as Tony. Maybe some connection or support?

Like most of Autumn's games, All or Nothing (1973) takes a storylet approach to the storytelling of the downtime of the crew (about 2-3 scenes). You can follow two groups: Arash/Goncharov and Tody/Andrey, or Vivian/Katya and Sofia/Sofia. Each will discuss their view on the production, their worries and dreams, and what is happening in their lives.

(Spoiler - click to show) Arash's method acting is worrying some of them or getting on their nerves, but he only cares about making art and be remembered*
*this is an interesting conversation between Tony and Arash on the subject, where fame doesn't seem to interest Arash if behind it there is no creative output to show for...
Vivian is starting to resent telling Arash (her boyfriend) about the meme and letting him string her along the production, while she questions whether she still want to even pursue this.
Sofia lives in a shitty studio with a baby, Tony looks to get paid* (and maybe more?).
*Unlike the other three characters, it didn't feel like there was much to Tony. Maybe being paired with Arash made him more of a background character...

By the second storylet, lines between the characters in the real world and in scenes start to blur. Vivian and Sofia comment on events being similar to struggles the Goncharov characters suffer through, while Arash and Tony lean more and more into the method acting (with Arash being much more into it). Like their movie counterpart (according to lore), both couple have the option of potentially leaning into the sexual tension in the air (with Vivian/Arash cheating on the other*).
*Funny thing, in the lore it is unclear whether either party knows about the cheating, condones it, or resents the other for it. Still they don't see each other separating because of it.

The line fully disappears when the real world characters embodies their scene counterparts so much during the height of filming, that neither Arash, Vivian, nor Tony realise Sofia's cries to stop the scene (even her holding her child do not phase them). At this point, the background does not even return to "real-life" mode.
While Tony and Vivian do manage to come back to their senses, Arash still stays in character, ending the game with I am Goncharov...

I really enjoyed figuring out that the characters' lives mirrors the ones they portrayed (though the exact lore is unclear one the specifics), with Vivian and Arash being a couple and playing Katya and Goncharov who are canonically together, Katya's dalliance with Sofia, Goncharov and Andrey contrasting identities (light/dark, naive/serious, free/taken...)... as well as trying to find the Goncharov themes (the clock, the gun, the boat...).

A final note: the game references two works: All or Nothing (which is incidentally the name of the game, paired with the fictional release year of Goncharov) and Miss Officer and Mr Truffles, two crowdfunding campaigns which started from a meme post on Tumblr making the rounds on the website. Neither managed to deliver an end product (the second never reached its goal). A bit of a wink to A Paradox between worlds there... Is it also foreshadowing the future of this project?

Starlight Shadows follows Lyra, a teenager with some sort of telepathic and prescient skills/powers, trying to figure out what to do after she gets a message that something wrong is about to happen at this (costumed?) party...

This short game is quite simple: you have one hour to gather your fighters before a fight with those strange entities is about to break out, and fight them. Unlike Autumn's other time/resource-management-gameplay games, you are able to interact with (and potentially recruit) every named individuals: your twin brother who's annoyed by you derailing his party and would only relent to help with threats, your (maybe more/less) ex who's witnessed your powers before and know you mean business, the social butterfly who's just a school acquaintance and is really into that one old book series, and the underprivilege gifted kid who is a loner. Whether you convince them is a different story...

When you have recruited your agent(s) - you need at least one - you wait until the clock strikes 8 to run fight those strange entities. Follows a turn-based beat-em-up fight against one entity, (Spoiler - click to show)revealing two endings: one failure where you are saved and told you require more training*, one winning where you realise there will be more fights ahead.
*This was an interesting ending, teasing something a bit ominous, maybe an experiment?

The game feels more of a preview of a larger one, where you'd follow Lyra as she takes on fighting different entities, and save the world (or maybe not...) (and maybe explore that past incident?). But considering it was constrained to a 4h deadline for writing and coding, it is an impressive rounded piece on its own.

Even with its limited sizes, there are a handful of Easter Eggs from Autumn's previous work: referencing A Paradox Between Worlds in the book Cy is reading or during your conversation with Cassie (she is a big fan!) (also Cassie's name feels very APBW too), the mentions of DNA-storage/archiving mechanism from The Archivist & the Revolution*... Also the recurrent theme of the main character not liking being around crowd/attending parties (very Karen from Pageant vibes).
*If the names of some of those characters are familiar, it's because they appear in documents of TA&R, making this game some sort of the latter's prequel...

Final note: only when writing this review did I realise that all characters were named after a constellation... and that is also related to the title...

Please Answer Carefully is a very, very short game. And yet, in a few passages and very few words, it manages to pack a heavy punch. I remember this game being my introduction to litrouke's catalogue, leaving me pretty sick at the end (my review on itch at the time: So creepy. I felt nauseous at the end even. Great game!). It is a great example that you don't need much to make something impactful.

The survey starts pretty tame, with some very boring questions about internet use and communication habits. The UI is very simple and smooth, with fancy poll-like animation (the question cards disappearing when answered). Until...

(Spoiler - click to show)... a glitch appears in question 5, showing a probing personal question that should definitely not be there. It soon disappears, replaced by the expected question card. Further down the survey, you are given an extra option (I'm being watched right now), a strange dummy question asking about forgiveness, and further live-reaction to your answer. Soon, you lose your ability to answer anything else than what the "survey" gives you.

By question 7, it should be clear you are being stalked by someone, to the point they have found a way to break into your device and contact you through a simple survey. No matter how you answer, they are there watching you, trying to get to you.

On its own, PCA is very creepy. But as a woman on the internet having lived adjacent situation, the game truly captured that unsettling (at best) feeling...

It is a very effective psychological horror game.

Jumping a few years into the future of Pageant, Karen Zhao comes back, more anxious than ever, for a short evening, celebrating the turn of a new year. Stuck in a house out of social obligation, Karen has the option to interact with a cast of familiar faces, go down memory lane, or hide from everyone as best she can to avoid starting a panic attack before the clock strikes twelve. How ever will she cope?????

The one thing that I love about Autumn's games is how real the characters and their interactions feel. NYE19 is no different, continuing on the tradition of anxiety-inducing situation and self-deprecating humour bordering on self-loathing. But unlike its predecessor, Pageant, NYE19's tone translated less as slice-of-life-of-a-stressed-teenager-trying-to-make-it-through-the-semester-oh-god-is-she-having-a-panic-attack-again-just-kiss-her-you-dummy and more of this-is-what-a-college-student-forced-to-come-home-for-the-holidays-special-sitcom-epidose-feels-like. From the really awkward meetings with your old high-school friends (or did you date them? or were they crushes?), to the adults hounding you with questions about your future, or your family wanting to uphold a certain image around people. It's a party we've all been to, it's the kind we wish we didn't have to stay...

And Karen, our favourite anxious lesbian, does too. From the start, she warns the player she does not want to be here, really does not find having to engage in small talk (especially with people she's lost touch with), and actually wishes being anywhere but at this party. It is awkward to interact with people you knew (or more than knew) some years prior but with who you have lost contact (life...), finding how they have (not) changed, and how they've been fairing compared to you.

During the span of an evening, you meet (again) Emily, a trans woman (out of the closet then?) who helped you in Pageant to win (kinda) said pageant; Miri, your best-friend, who tagged along for the party because she did not want to be at her family's party and became the social butterfly you could not be; and Aubrey, your high-school rival, who seems to still be doing just as well with her Harvard education, her Harvard boyfriend, her probably-perfect-looking Harvard life... You also get to roam around the party daydreaming nihilisticly about the state of the world, hide in the basement to watch a MCU movie and be cringe to your brother, stuff yourself with food to temper with your imminent anxiety attack, play some mahjong and lose badly, hide in the bathroom and take selfies sending your into some self-loathing, play some games on your phone...

Whatever you do (especially your interactions), you are constantly reminded of your shortcomings from the past and how you let your anxiety cause the dwindling of your relationships. Your past haunts your every move and your every thoughts, and being in the presence of people from your past makes it all the worse for your mental being.

Half-way through the game, you sit down to have some dinner, forced at the kids-but-not-really-kids table where all your (former?) friends are interacting. It is very awkward, with Aubrey forcing everyone to introduce themselves as if they were having some sort of team-building meeting, her boyfriend forgetting about the No-No-Conversations (Politics-Religions...)... You can choose to participate in the conversation, eat, or listen, but no matter what happens, you will leave the table before the meal/conversation is over, leaving the party as well to go for a walk.

This is where things get interesting. Emily asks whether she can come along, and agreeing or not will give you very different outcomes. The latter will find you wallowing about your loneliness and how devoid of human connections your life is (much due to your own actions), while the former has a more hopeful and levelheaded conversation (leading possibly to a relationship...). With each still, and throughout the whole game, Karen goes on an introspection about the seemingly importance of human interaction, how easy it is to fuck up things, and the transactionality of relationships, all wrapped in a nihilistic and fatalistic bow (everything goes wrong, even if you do the right things).

Even if this sounds all depressing, it strangely is not. I found myself giggle at some passages. The dry self-deprecating humour is honestly hilarious (especially the Narrator's comments). At any moment, I was expecting a laughing track to cue. Or maybe I was just playing this with a strange mood...

The game is also very meta about what it is trying to convey. From playing a dating-sim game within an essentially dating-sim game, to the commentary on human interactions being comparable to dating-sims in the optimisation of [emotions/variables] to get the best possible outcome through a sequence of actions we hope is the correct one while we play a dating-sim where the sequence of choices can be optimised to get that "good ending", the story and the gameplay play quite interestingly on each other to get those points across.

Still, unlike other works from Autumn, while I enjoyed myself playing it, it didn't have the same impact on me. I didn't click as much with it as her other games, and felt a bit unsatisfactory? by the end of the playthroughs. The game has some strong moments, especially the part outside of the house, and some funny moments during the roaming around before dinner/before the countdown, but at other moments, it felt hollow. Maybe it is because of your limited agency in the way you interact with others or act, since Karen is an anxious and socially awkward person who has a hard time expressing her feelings and thoughts. Maybe it is because some of the characters you interact with and the way you defined your previous relationships don't feel as fleshed out (Miri and Aubrey comes to mind, especially compared to Pageant or even Emily). Or maybe it is Karen's blasé look on dwindling and lost relationships that ticked me that only allows her to have superficial contact with people (aside from Emily). Or maybe it is the more fragmented type of different gameplay/mechanics that didn't work as well as the Storylet format of Pageant, or the more linear work of GG and the war. Or maybe because the end was a bit too abrupt... I'm not quite sure

There is a wonderful sentence from the post-mortem that really encapsulate the vibe of this game, and strangely reminds us of the hope Karen feels just before returning to the party... and this is where I will be ending this review:

> The past is inescapable, but the future is not entirely determinate.

There is still time...

Computerfriend is a nihilistic take on a future/past, where everyone is miserable and somehow still living through a more-than-poluted world devoid of community sense and safety nets. Following an unnamed incident, you are required to follow therapy sessions via a AI program on your computer, the eponymous Computerfriend(.exe). However, this program is not... what you'd expect of therapy.

Computerfriend was my introduction to Kit's world, randomly answering a call to playtest it ahead of the SpringThing 2022. I remember it being very confusing and trippy and gross, and yet I did not want/could not to look away. I devoured that game, and played again and again until I had found all endings.

Coming back to the game felt like swimming in a strange but comforting acid pit, and talking to computerfriend.exe felt like talking to an old toxic friend you are not quite sure whether they mean good or harm. Needless to say, I was like a kid in a bath, refusing to leave.

Not going to lie, this game is very strange. And it has been stuck in my mind for over a year now. It has marked me in ways I'm still discovering today. Even if it is not supposed to be beautiful, with its blinding change of colours or its eye-printing fonts or the literal ugliness of the setting, there is still charm in the harshness of the visual. Even if it is not supposed to be cathartic, each story run left me strangely satisfied and [at peace / terrified / confused / angry / revolted]. Even if it was incredibly bleak and borderline fatalistic, with an unliveable world devoid of nature and cows that can lay eggs, there is still shreds of hope in there that survival is still possible, maybe for a bit longer.

In its indulgence in all that is considered bad, the game manages to be so incredibly good.

One last special shoutout to Computerfriend:
While the story is supposed to be about your recovery, the main show revolved around computerfriend.exe, your at-home therapist AI, which still needs a bit of tweaking before it can help you get back on track. At first, it seems the AI does not truly listen to you, as it goes down a checklist as if to fill in a form (to try to understand you) - the dissonance between your answers to questions and its responses is very staggering (for lack of better word). As you progress down the "recovery" path, the AI will propose different treatments, going from strange to terrifying to injecting yourself with drugs. If you refuse or don't find the treatment useful, it will pressure you to continue. Even saying NO is a painstaking process (and the first time, it is even ignored).

computerfriend.exe can truly be awful, but it remarkably funny. When it first assesses you, it does not just look up your location or how the weather is, but also finding the contacts to the nearest first respondent and pollen level (am i supposed to have hay fever?). This might be the bleakness of the game affecting me, but I still chuckle at it. Same after you close the application and try to reopen it, it will tell you to butt off because it is busy. It even gives you homework, actions to essentially distract yourself until the next session (and the options are delightful).

You play an (older?) gentleman doing some late night groceries after a long day. Most of it is pretty mundane and uninteresting, until you see some fresh gnocchi in the pasta aisle. Your mind can only think of the last time you had those, in Rome. Around you, the shelves block your view to the other aisles, and a brunette woman stands a few meters away, filling her trolley with pots of sauce.

And in this aisle you stop your trolley, waiting on what to do next.

Though I never found more than a few dozens by myself/with the French IF peeps, there are over 136 actions producing an ending in this game. 136! Whether you interact with yourself or your environment, there are a lot more you can explore with this very restrained environment.

Even if the experiment of one-action-the-end is truly amusing and insanely entertaining (who doesn't like a treasure hunt for all 136 endings), it is the writing that shines the most in this piece. The game is humourous, and dark, has bits of lightness, and becomes incredibly sordid, it is sad and genuinely touching... It can say so much with so very little. Truly incredible.

Through the endings, a backstory forms around the PC. Or maybe two or three. He had a wife, went to Rome with her, but something happened (death/illness/something else?), and he was left alone. It is not truly clear what happened to his wife, or the PC's involvement in said disappearance/death, but what is certain is the pain and the guilt the PC still feels after all this time (has it be years, by now?), making him unable to form new connections with people, leaving him truly and completely alone. What stays is his fond memory of that trip to Rome and those gnocchi he ate there...

The Familiar follows Fran, a familiar in the form of a crow, as she embarks on a quest to save her witch mistress who has succumb to an illness. Through a series of puzzles and exploration, Fran uncovers a secret plot and fights for her mistress's life.

I am a sucker for a good simple puzzle and a cute story, and this is no wonder this game made it to my top list of the SpringThing this year (well, it was already a favourite of mine while I was testing it). From its clean and simple aesthetic, the gorgeous pixel art for each "room", to its delightful characters, The Familiar is such a well rounded game.

Obviously, playing as a crow, you are limited in your abilities to help your bedridden mistress (it is a magical wonder you can get her a blanket). Still, the puzzles are constructed in a way that would be doable for a crow to solve (and you a smart little one). Cawing your way into town to get attention, pecking people to move them out of the way, or picking up and dropping objects in the right place, you manage to acquire all needed ingredients to save the witch.

And you are not alone in the process. Meeting first Hazel, a mouse familiar whose master perished not long before the game, who will tend to your mistress while you fly to fetch the ingredients (turns out, it's not the flu but a curse, whomps...). Then a trio of NPCs in town: Miroger, who's bother has died, Cecile, who needs help writing and sending a letter to her lover, and Frederik, who knows a good deal when he sees one. Each helps you getting one ingredient in exchange for a small favour. Finally, the evil wizzard's owl coming at the 11th hour to stop Fran.

But how does it end then? With a happy ending, for course! This is still a feel good story at the end of the day, one that makes you feel satisfied when the ending screen comes around. The day is saved, the mistress is healed, and you made some friends along the way.

What I really appreciated from it was how inclusive the game was for beginners (or terrible parser player like me), as you are limited to 5 verbs (TAKE, DROP, LOOK, PECK, CAW), there is an available tutorial to teach you the controls, and a thorough walkthrough is included in case one is stuck.

I wanted to give a special shoutout to the artwork, considering how long it took to make 30+ pixel art headers, many of those heavily detailed. Those truly gorgeous small pieces of art enhance the atmosphere of the setting, from the cozy home, to the luscious forest, and the different and vibrant parts of the industrialised city. If it all felt like a pixelized version of a Ghibli movie, that was on purpose (the author confirmed the reference).

Anyway, I'm going back to fly after that darn letter...

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.

Pageant follows Qiuyi (Karen) Zhao (mentioned as Karen below), a Chinese teenager living in the US, as she navigates through school and extra-curriculars, relationships and identity, family expectations and community, and the pageant her parents signed up for. Through limited storylets choice, you can carve Karen's priorities and relationships.

Pageant was created with Dendry, a storylet narrative program, where the player get to experience linear side-stories in fragmented way. Every week, the player can pick up to three options from the storylet lists to start or continue a path. As the list is often longer than three options, the player is forced to make choices and prioritise a certain path (a recurring gameplay type in Autumn's games). This makes for great and interesting replayability!

The story start with Karen being summoned by her parents, revealing that they signed her up for a pageant, happening in three months. There is no bargaining no quitting (it's good for college apps!). In three months, Karen will be on that podium*. During that prep period, she still needs to balance school (a full AP curriculum), the Science Olympiad, doing an understudy with a college professor (also set up by your parents), having dinner with your family, going to bible study on the weekend, and etc... Doesn't this sound like too much for a high school student? And was it yet mentioned that Karen is a socially awkward mess, who has trouble making relationships, is full of anxiety and self-loathing, struggling with her identity as a Chinese teenager in the US (her used name not being her birthname, and having the option to butcher your name's pronunciation) and a closeted lesbian (or something like that says the game).
*well, there is a way.

Along the way you are introduced to a handful of characters: Emily, a trans woman still in the closet, Aubrey, a girl Karen had a crush on also part of the Science Olympiad team, and Miri, Karen's only friend. There is also Karen's parents and her little brother, Kevin; Professor Chen and his grad student; the rest of the Science Olympiad Team; and the other families attending the Church. Through out the game (and your choices) you get to learn more about these characters, like how Emily deals with her family's trans/homophobia, or Miri's feelings towards you, your family's history...* The storylets really shine here, giving you crumbles here and there, forcing you to piece those back together (and forces you down a certain path to learn everything).
*Even after playing multiple times, I have yet to found all variations.

And at the centre of it all, Karen, the very flawed teenager. Yet, even with her self-deprecation and anxious spirals, with the awkward way she interacts with other people, with dealing with different cultural values and expectations about her life, or with her inability to stand up to herself (partly because of her guilt of "having it easy" compared to older generations), Karen stays a character you want to root for. You want to help her win that pageant and be more sure of herself. You want her to be more confident in her identity (and get a girlfriend). You want her to find her passions (in science?) and win accolades. You want to pluck her from her stressful world, wrap her in a blanket, kiss her on her forehead, and tell her that everything will be ok.

The whole game is filled with such genuine interactions, with teenagers blurting out their deepest secrets to strangers, declaring their love to one another even after but a few meetings, being self-loathing with a self they don't recognise or don't want to be anymore but unable to leave that shell, trying to handle the stress and anxiety of the expectations of others and not being able to reach those. And those are made all the more vibrant through Karen's inability to react "properly". Faced with bad and worse choices, you get to experience that anxiety of what would happen if I say or do the wrong thing. It feels genuine, because it feels real and lived through.

As the ending came around, and you get the rundown of Karen's actions, it felt like, while winning the pageant is definitely one/the goal, the journey was much sweeter than the destination. And that's what keeps making me want to come back to it...

~~ 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.