Reviews by manonamora

Great-grandmother and the war is a story within a story, following Lan/Christine Zhang (referred as Lan/Christine below) listening to her great-grandmother (Zhang Xiaoyun, referred as Zhang below) recounting the tale of her meeting Yan as a child, growing up during the Sino-Japanese war, and her survival. It is a mix of hyperlinks and choice-based interactive fiction.

From the start, you are informed the story will have three distinct part, each with the possibility to start from the main screen. Those parts depict different period of Zhang's life throughout the Sino-Japanese conflict, through her retelling to Lan, her great-granddaughter: during the bombing of Tianjin, where Zhang is just a child having to leave everything behind; under the Japanese's rule, during which Zhang lives in a girls' boarding school, having lost contact with her family and struggling with her identity and emotions; and starting from China's liberation at the end of WWII, where snippets of Zhang's adult life is described, as she yearns to find who she considers to be her family.

An interesting parallel to this is that Lan/Christine experiences the retelling of her great-grandmother's life at a similar age Zhang is supposed to be during the story and facing mirroring those events, as Lan is about to move to the Americas as a child, then coming back as a teenagers struggling with her identity (changing her name being a major point), and as an adult reconnecting with her family after many years apart.

An other important character I have yet to mention here is Yan. First finding and following Zhang (or pushing Zhang to overcome her anxiety about the situation), then staying with her at the boarding school where she ends up getting involved with the local revolutionary group (and romantically with Zhang), before leaving Zhang behind in the final part to join the Communists. Yan and Zhang do manage to find each other twice after that (both by chance), with the final meeting reigniting their relationship, until Yan's death.

Another interesting thing with the depiction of these characters is how opposite Zhang and Yan are from one another. While one is very shy and awkward, the other was social and outgoing; one comes from a comfortable bourgeois setting with little thoughts(?) about social order, the other a lowly orphan* with strong communist leanings; one needs to be pushed to move with her life**, while the other kind of takes life by the balls. Like the saying goes, opposites attract...
*well kinda...
**you do have active choices, but her character seemed to be a bit more of a pushover, especially compared with Yan.

From the writing of things, it is clear the story stems from a very personal one (see post-mortem), from the questioning of one's identity and place in the world, the yearning for connection (family/lovers), to one's survival in strange times. There awkwardness in some of the dialogues (aside from Zhang's awkwardness), which I found very touching, and somewhat added to Zhang's struggles with adapting to the changes outside of her home/of the boarding school or of her relationship with Yan (stranger to closer to lovers to cold to strangers to family). It also made the more romantic passages all the stronger.

It took me a while to grasp it, but Zhang mentioning how she sees Yan in her great-granddaughter felt more of a wish than a parallel (at least I wasn't seeing it as clearly as Zhang did): finding a friend in a strange new place and adapt to changes, discovering yourself and be more vocal about your identity, reforming bonds with family.

Additional context about an event, a location or a character is hidden behind hyperlinks, where "present time" Zhang or Lan/Christine will interject/get cleared/ask more question... This also sometimes strengthen the parallel between Zhang and Lan/Christine and the bond they have for one another.

There was quite a bit of abruptness within each part of the game where time/location jumps a bit out of nowhere. It is more forgivable in the first part, as child Zhang might be a bit confused by what is happening around or more by what it means. But in the second and third parts, those abruptness feels like something is missing (as in something had been planned for scrapped up at the end, which was confirmed by the author in the postmortem). Still, one could write it off as the great-grandmother forgetting bits of her history as she gets older (and maybe senile) or repressed memories from that traumatic period in her life (in one bit, the missing explanation through a hyperlink is filled in by an uncle).

The game ends bittersweetly, with a visit to the family memorial, where great-grandmother Yan is now buried. Yet, there is this sort of hopeful future that emanates from it, as sunrays break through the rain-heavy clouds...

~~ 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.

Though based in the (unreal) mythos of the Goncharov phenomenon, Verspertine is still a piece about love being both transient, forbidden, never-ending, and bound by time.

Like Sophia's previous title (Origin of Love), Verspetine continues on the linear retelling of a romance doomed from the start (infidelity + clock theme from Goncharov), with the use of annotated links revealing either a side note on a certain point (button) or a different perspective (numbers). The prose even resembles the poetry of Origin of Love in its descriptions.

While there is no clear timeline or setting of scene throughout the game, as Andrey jumps from his recollection of past events to his feelings for Goncharov, I've chosen to believe Andrey is waiting for his lover to awaken, admiring his sleepy self and contemplating on his situation in the meantime.

I read the piece multiple times, because I wanted to experience the story as it was, before diving into the annotation. While the main text and the button annotations are written in the third person (from Andrey's perspective and memories), the numbered links sends you into a darker screen, where the prose is shown in the first person, in a more personal and stronger voice.
I was confused at first whose voice it was between the two men at first, but the last screens made it clear Goncharov was the one.

You are told from the get go that the romance is doomed from the start: Goncharov is married and their work interfere with one another (?? the Goncharov mythos is unclear on whether the two are partners or rivals). The relationship is bound to end, time will not let them escape (sidenote: loved the references to the clock and time). Yet you can't help but feel for the two men who obviously yearn for each other's presence (and body, mind and soul). You want them to find a way to keep them embraced.

And in this pain, there is beauty. Beauty in the way the two describe each other, in the way the harshness of their lives is offset by the little moments they find each other, in the way they kiss, in the way they touch... Beauty prevails. Love, somehow, prevails.

~~ 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...)

Forenote: I am not a poetry person. I usually don't vibe with or understand them.

As the piece is quite short (due to the 4h limit from the competition), I have been reading and re-reading it, going back to the start, and round and round I went, letting my brain be spun inside a washing machine of verses, soaking the intricate (and very steamy) metaphors within the lines.

Though the interactiveness of the piece only comes in two forms (the links between the stanza groups and the word buttons revealing further details), the "story" is linear. There is no choice to make (save for exploring the details and continuing through the verses).

I am not well versed (sorry) in poetry, with my knowledge essentially limited to fables and romantic French poems. But it stroke me how easy my eyes flew through the page, even if my expectations of rhymes would not be satisfied. The content of the poem was enthralling and captivating.

The poem starts with almost a prayer to a divine body, aching to be touched, and continues on an exploration of bodies, where one handles the other like a relic, while the other searches for pain. There is hunger within the poem, a devouring desire that cannot be satiated. It descends into a recollection of travels and inquisitions, a search of a home, and a remembrance of who one is and how much one is loved.

Save for the last passages, the hidden details brings forward a more lustful piece, almost akin to BDSM, adding onto the worshipping of one's lover's body. As the poem continues, the details softens into a declaration of love and loss of one's self without the other (and a small revenge).

I don't think I am done with this piece... for after many readings, I would still discover a new metaphor or a different take on an imagery. I don't think I will ever be done.

A chilling and confusing snippet of life told through the eyes of a small child dealing with struggling parental figures, in a gothic style

Horror is usually not my style because I am a bit of a chicken, but Sweetpea's big eyes and scared demeanor pulled me in and would not let go until this game was complete. [This is actually my second playthrough]

The vivid descriptions of the surroundings or Sweetpea's feelings, as well as the formatting and animations of the text added onto my discomfort and uneasiness. Yet, I could not look away. I had to check all the boxes and find all the hidden links to understand the troubles the eponymous character was going through.

I actually didn't catch this the first time around, but it is (Spoiler - click to show)heavily implied the father is an alcoholic following the mother's departure (death?), behaving strangely in her eyes when drunk. The hints were all there, from the stranger who looks like dad but is not like dad; the broken glass and the sickness in the bathroom, or the father leaving for hours/days on end. It is clear the father is trying his best (and failing at the task), but his guilt is not enough to change him (until the end is reached). The horror of every day life...

Even the second time around, I was still quite confused at the second "act" with Micheal, not because of the change of background marking a new beginning in the story, but by the shift in the story going from a grim reality told through the eyes of a child, to being swooped by some sort of guardian angel in some imaginary place and being served breakfast. (Spoiler - click to show)Then afterwards, the context of alcoholism with the father kind of makes it as if the dad was sobered up then, caring for his child.

While the story ends on the positive note, it still depict a grim part of life, where hurt people hurt other people (and worse, children), which shook me to my core. The contrast of the pain and the panic of the child with the fond remembrance of gifts or the soothing taste of a sweet makes it all the harder to go through. This is accentuated by the gothic style of writing, making this everyday horror more vivid and visceral.

Chills going down the spine at every turn.