Reviews by cgasquid

Wordplay games have always been a tough genre to get right. On the one hand, you want to have consistent rules for word manipulation, so the player isn't just sitting there guessing words. You want to have the puzzles actually fit together into a larger picture, whether that's a treasure hunt (Letters from Home) or a detailed plot (Counterfeit Monkey). You need to make sure the game is tuned to the language, not to pop culture references, to ensure the game doesn't become incomprehensible five years from now.

Out of the short stories that make up Nord and Bert Couldn't Make Head or Tail of It ... one, perhaps two, fit any of these criteria.

The general pattern of these stories is to recognize the kind of "wordplay" at work in the story, then just examine items and type every example of that wordplay you can think of. In "Playing Jacks," you have to know a lot of words that have "jack" in them. In "Shopping Bizarre," if you see an item, you type its homophone. The biggest offender here is probably "Eat Your Words," which is just see object, type cliche naming object, continue.

There is a single highlight here: "Manor of Speaking." It's a haunted house game where each ghost has a different obsession, and you play them off against each other and solve actual puzzles riffing off wordplay. It's brief but delightful.

By contrast, the worst of the lot is "Act the Part," which requires the player to be familiar not only with unfunny gags from downmarket 1950s sitcoms, but also to recognize a phrase that is as opaque to me now as it was back then ((Spoiler - click to show)"better a bottle in front of me than a frontal lobotomy"). This stuff was dated when it came out. (Ironically, the opening-move puzzle in "Act," despite being incredibly difficult, is one of the few that's stood the test of time.)

Similarly culture-specific and extremely difficult are "Buy the Farm" and "Shake a Tower." "Farm" is at least well-written (most of Nord and Bert has nothing but short, terse responses) but some of the expressions in it are already passing out of English parlance. "Tower" uses spoonerisms, and it's very cruel, utterly nonsensical, and nearly impossible to get a perfect score on.

People talk about the Oddly Angled Rooms from Zork II being too culture-specific. At least there are at least three countries whose inhabitants would get the joke.

If all of this were beautifully written, or tied together in a coherent fashion, it might be another story, but it's just checking off disparate scenarios until you're allowed to go on to the last one. "Meet the Mayor" is basically the same as "Buy the Farm" but with much more obscure language.

Most of the games that Nord and Bert inspired did the job better. I was a huge Infocom fan, to the point of a fault, but there are still a couple of their games that I just can't defend. This is one of them.

A small number of locations, many of them containing nothing but scenery and background.

An NPC who follows you around and can be asked about things, and whose presence is necessary in certain situations.

A small number of objects to be collected to solve a handful of puzzles.

The Temple is very consistent with commercial IF in the late 1980s. It's a short game, with a couple of "read the author's mind" moments (it would never have occurred to me that (Spoiler - click to show)the translated book changes the descriptions of other items when carried, instead of it being an object i could CONSULT or READ) and lucky coincidences, but nothing truly awful. The prose is better than average, and I got at least moderately attached to the NPC by the end of the game.

A good way to spend a couple of hours. With a little polish it would be a classic short game.

Beet the Devil primarily shines in its writing. nearly every sentence is bursting with the PC's personality, from his individual judgments of the goings-on around him to his phlegmatic reaction to very extraordinary events.

that said, Beet the Devil is essentially a long, linear corridor, with the useful items front-loaded in the first few locations. you never have more than one puzzle to work on, and most of the solutions involve using vegetables for purposes they were clearly not intended for.

a small amount of lateral thinking is needed in some places, though if you WAIT at a location for a few turns you can usually get some kind of indication of how to proceed. the final single-turn puzzle is so obvious yet so difficult to think of that it's probably a masterpiece (on par with Madventure's).

on the negative side, the implementation is a bit shallow. TALK TO would have been nice, given the extraordinary number of puzzle NPCs, and many reasonable solutions to problems didn't work because the parser had trouble with prepositional phrases. as noted, the game is linear, so if you're stuck on a puzzle you're going to stay stuck. the few places that it seems the game is about to open up, it turns out only one exit is usable. you can get hints from the PRAY command, but they only tell you which object to use, not how.

overall, the writing is worth the half-hour of your time it'll probably take to make it through. i'd love to see something more elaborate from the author.

this is your basic "you wake up on a spaceship with amnesia" game. the game is small but not cramped, and the puzzles are mostly easy. oddly, while the game has four (technically five) NPCs, you have very limited interaction with any of them; they either give you items and information or they're shallowly implemented obstacles.

the bravura puzzle near the end involves (Spoiler - click to show)rewiring a circuit board with limited and outdated information. it's a complex bit of coding and requires some experimentation.

all in all, this isn't a bad game, and it's a good introduction to IF in general. there are no unfair puzzles and you're never expected to read the author's mind. i wouldn't recommend it to experienced players, who can probably whip through it in about 20 minutes.

I think I managed an impressive 75% on understanding the game's ... creative vocabulary. But having the ability to read this doesn't change that it's a three-room game with a single self-evident "puzzle." There are a few other things you can do to produce additional text, but that's all. The only reason I didn't solve it immediately is that I kept looking around trying to find something I could actually do or interact with.

There is a resonance to be found here. The game is about masochism, but the act of playing it is masochism. It's actively painful to read. While that is clever, it's still all in aid of nothing much in particular.

The sad thing is, i've seen people who actually talk like this out of the belief that it makes them sound "intelligent." For anyone who's tempted: it does not make you sound intelligent, it makes you sound like someone who's trying to sound intelligent and utterly failing. (The author, on the other hand, appears to be taking the mickey.)

(this is a review of the original game, not the remastered Steam version)

now, i'm not the type who tends to get through games without resorting to at least a FEW hints and walkthroughs. there are different kinds of puzzles that a person can get stuck on. sometimes a verb must be guessed. sometimes there were non-obvious inventory items that were missed. sometimes a game is unfair. and sometimes puzzles are completely logical and even intuitive. there's really nothing like the feeling of being stuck on a puzzle for a couple of hours or overnight and then suddenly having the light dawn: you try it, and it works.

Anchorhead gave me that last feeling many, many times.

i believe i only had to resort to hints a couple of times -- once early on when i was having trouble tripping a specific flag to advance the day, and the later sequence (Spoiler - click to show)in the mill that many had problems with.

more to the point, the horrifying story kept me riveted. there are games where one kind of trundles along, hits a puzzle where any progress seems impossible, and gives up (frequently because the author put their e-mail address under HINTS instead of giving a link to actual hints or a walkthrough on their webpage). but there are games where you hit a brick wall puzzle -- in this case, (Spoiler - click to show)sabotaging the summoning at the lighthouse -- but you're so committed to the character and so immersed in the world that giving up is simply not an option.

i solved that puzzle myself. and it was the greatest feeling.

that said, there are some things that bear warning about and could potentially trigger people's PTSD. the plot relies heavily on (Spoiler - click to show)the villain's history of incestuous rape and, while figuring that out yourself is a wonderful puzzle that gives you that slow, creeping sense of dread as you realize what's been going on, people who've gone through the real-world equivalent may not react well.

little breaks immersion more than when the protagonist of the game refuses to follow your instructions.

there's a reason why so many people dislike stock parser answers like "Violence isn't the answer to this one" -- if i'm dealing with a padlock and holding a heavy rock in my hand, and i type BREAK THE PADLOCK WITH THE ROCK, i at least want to be informed of why my action failed. the stock response mocks the player for attempting a logical action. immersion break.

in a game like A Matter of Importance, half the actions you try are refused by the protagonist, often for the silliest of reasons. the protagonist is such an egotistical coward that they refused about half the actions i was able to give them, and examining almost anything comes back with a snotty message about it being unimportant.

the first move - third move, actually - puzzle is a guess-the-verb that makes no sense in context. i was only able to solve it (after multiple logical actions were "irrelevant" or "wouldn't help me") when the game gave up and told me (Spoiler - click to show)"maybe it would be better to ignore the cars," which clued the bizarre IGNORE CARS.

i tottered around a bit in what seemed to be the main game area, being informed that despite being a burglar i was not interested in any aspect of the building i intended to break into, nor in stealing anything else, nor in interacting with NPCs. and sometimes when the game informs you that something is irrelevant, it's lying, but you have to use exactly the right verb on the right specific detail to proceed. anything else would give you one of the game's stock "that's irrelevant" messages.

it's an aggravating feeling when the solution to a puzzle is right at your fingertips but you can't work out the correct phrasing to get your recalcitrant, obnoxious player character to do it.

there's a strong suggestion in the INFO menu that all of this is in aid of something: that this is supposed to be a difficult, frustrating game with some kind of manifesto or major twist at the end of it. but i've spent too much time beating my head against this game already.

i have mixed feelings about Spiral. when i first began playing i was sincerely impressed; it opens on a very compelling and intriguing situation, with two people bound and gagged facing each other and occasionally assailed by sprays of insecticide. i was immediately curious about how they ended up in this situation and what the connection between the two of them might be. the ability to swap between characters indicated i might be in for some cooperative puzzle-solving, for instance working out how to get out of our bindings and escape.

this was, unfortunately, not to be.

very quickly the characters find themselves transported into their dreams. in (Spoiler - click to show)eco-activist Ross's dreams, a giant machine is destroying the earth to feed a Beast; in the other, Helen has been condemned to hell (and i've been playing IF long enough for that latter to draw an instant eye-roll from me).

note that i had a single-word tag to describe Ross, but none to describe Helen. that's because at no point in this story did i manage to put together any kind of picture of Helen, who she was, what she liked ((Spoiler - click to show)besides meth), or what was important to her. she was a complete cipher.

Ross is sketched out in more detail, but while we hear about his family and friends and learn (Spoiler - click to show)one of them went past "activist" to "terrorist" I still never got a real idea of what kind of person he was.

the shallowness of the protagonists isn't helped by the hollowness of their dream-worlds. there are puzzles, but only one of them, (Spoiler - click to show)working out how the sticker and sickle work, seemed clever or original (and i can remember another game with that puzzle off the top of my head).

one "puzzle" is self-evident and still needs to be done repeatedly. one character has to gather seven treasures -- that's what they are, so that's what i'm calling them -- and most are either sitting in the open or only require you to search a specific obviously-searchable object. there's a potentially intriguing gimmick, (Spoiler - click to show)passing the items between characters, but it's only signaled by one clue that's easy to miss, and i ended up needing to use the walkthrough to find it.

there's also a softlock for Helen where you must have a specific object to get out of a given location, and if you went there without it, hope you saved. the location is ominous, to be sure, but it's no more ominous than literally everything else in the game.

Ross's dreamscape at least has resonance with his personality and beliefs. Helen's seems to come from being (Spoiler - click to show)non-religious in a Christian family with a Christian boyfriend. that could leave these kinds of scars, but given the events of what the game calls "the fateful day" something more related to (Spoiler - click to show)having her stillborn child removed would have made more sense.

the ending was the biggest disappointment. (Spoiler - click to show)it's completely nonsensical. helen and ross are in a train car; whichever character you collected the treasures for first has to use a weapon to kill a misshapen infant. this obviously makes no sense as a resolution for Ross, and doesn't really work for Helen either -- she didn't have an abortion, she had a stillborn baby removed. that is very much not the same thing. this apparently kills one character, then you briefly play as a wasp, and then all meaning goes out the window for a nonsense ending.

also, (Spoiler - click to show)the connection between the two of them was that there was none, nor is there any hint of how they got into this predicament or what any of it meant.

the writing is good and the initial presentation is terrific. but the characters are ultimately shallow, most of the puzzles are lackluster or completely absent, and the ending makes it hard to care about anything that's happened so far.

this one's a real gem -- it's IF in the "existential crisis/surreal location" genre, but for once, the location isn't deserted. the characters in Cactus Blue Motel are interesting people, most of whom one might actually want to get to know, and despite the Twine structure and limited interactivity they come off as nuanced and deep.

there are no mysterious machines, trophy cases to fill, and so on. the "puzzles" in Cactus Blue Motel are generally explorative in nature; where do you go, in what order, and what decisions do you make? they lead carefully and organically towards a single dilemma, and while i feel like the author has a solution in mind, i'm not actually convinced it's the one i'd choose.

just overall fantastic. great writing and pushes Twine to its limits.

The Ouroboros Trap drops you, the faceless player character, into a ... well, i hesitate to call it a maze, because there's a lot less branching than it seems. there are many instant, unfair deaths and a lot of guesswork, but Trap is written in Twine with an undo command so it's not as obnoxious as it could be.

what is, however, obnoxious, is the massive overuse of pauses, particularly given how many times you're expected to cycle through the pages with the longest pauses. there's only one spot in the game where the pauses couldn't be replaced with some equivalent of "click to continue."

overall, while the writing is fine and there are some good ideas here, way too much of the actual gameplay is just repetition and guesswork. despite Trap's trappings of puzzle IF, it really isn't, and i'm not sure what else it's trying to be.