Reviews by cgasquid

You have a surreal world based on an academic subject, with the protagonist being a practitioner of that academic field who seems to have forgotten everything until after they've solved the relevant puzzle. Aside from the weird locations and situations, there are also famous geniuses in the field hanging around to be interacted with, including the Greek hero Achilles (as seen in one of Zeno's paradoxes).

The description above describes both The Chinese Room and A Beauty Cold and Austere. Half of the description also applies to Dr. Dumont's Wild PARTI. The main difference is that while the latter two games apply to the hard sciences (mathematics and physics, respectively) while the former applies to philosophy.

The secondary difference is that the latter two games actually work. I don't mean "work as a game," although that's true as well -- The Chinese Room is incredibly buggy and insufficiently implemented.

You have a ludicrously small inventory limit for no particular reason. You have a container, and objects are shifted in and out of it when you use them as expected. Three specific objects, though, can be put into the sack -- including automatically -- and can't be removed. In two of the three cases that's an instant no-win situation.

"Light lantern with lighter" works, but not "light lantern". The qualiascope requires very specific syntax and functions inconsistently. Certain conversational options not only don't work, but show a parser error message. There are typos throughout, in a few places actually making the meaning of sentences ambiguous. Most of the nouns in the text are unimplemented, in some cases bafflingly so ("trees" is implemented but not "tree"?) Objects are obtained by solving a puzzle, used once, and discarded; the puzzles are strictly one-per-room and the game only contains two rooms without a puzzle in them.

Most of all, though, is the handling of the subject matter. A few puzzles are actually solved through application of philosophy, but more of them seem to be jokes. In a couple of cases actual philosophical dilemmas are given pat, "correct" answers. While it's not uncommon for games in the genre to just randomly dump historical figures into a room, The Chinese Room may be setting a record for useless cameos.

The tertiary difference is that the two better games are both fairly po-faced; the situations are often funny but they aren't wacky. Whether this is good or bad is up to you.

Overall this game has a lot of potential; the writing positively sparkles and there are some great moments. But there's just this feeling that the whole thing is .. rushed.

Note: This is the only game I think I've played where the player character is firmly established as bi.

For the record, I played this on a real Apple ][+ in the 1980s. It was my second text adventure ever, after Scott Adams' Adventureland and before Zork II.

An asteroid is speeding towards Earth on a collision course. (Never mind that in the 1980s our first warning of an approaching asteroid would be its impact.) Your goal is to qualify as an astronaut, fly your shuttle out to the asteroid, set charges to blow it up, and return safely to Earth.

No, Bruce Willis is not included. And this game came out 18 years before Armageddon anyway.

Despite how it might sound, this is actually a fairly simple task. There are a handful of puzzles with self-evident answers, mostly consisting of getting information in one place and using it in another. You'll probably want to take some notes.

The game's difficulty -- ALL of its difficulty -- comes from the tight time limit. Every action you take uses up a certain amount of time, so there is no time for any distractions or any mistakes. The "puzzle" is therefore to write a walkthrough so efficient that not even one move is missed.

This, I am afraid to tell you, is NOT FUN.

It's not even like this is an efficiency puzzle. Mission: Asteroid is ludicrously linear -- there are no alternate solutions to puzzles, no multiple routes, no optional areas, nothing. You're more likely to die from a typo or because you accidentally used a synonym than anything else.

Oh, and if you DO die, the game simply continues like it didn't happen. You can "win" just by ignoring it and continuing to play.

Compared to Mystery House, this isn't that significant a piece of IF history, and it's buggy, poorly designed, and hopelessly linear. I've played better adventure games programmed by fourteen-year-olds.

... this kind of game CAN'T be written under time constraints.

When you've got a wordplay game, you really need to be prepared for absolutely anything the player would try. There has to be some kind of feedback, some kind of cluing, some way for the player to think of the rhymes that the author intended. Here, typing anything wrong pops up a reminder that it didn't recognize your rhyme and normal verbs don't work.

What's more, there was a feature in another entry I played where you were informed if you got half the rhyme right. I got a rhyme half right in the second room and just got the same generic message.

Andrew Schultz is very good when taking as much time as is necessary; I very nearly solved Very Vile Fairy File with no hints because the game itself was so user-friendly. But these time-limited competition games just fundamentally do not work.

This story is the direct adaptation of the Call of Cthulhu adventure "The Haunting," typically used as the first adventure in a campaign to get players used to the research-investigate-probably die cycle that the RPG follows. The game follows the investigation point-for-point, and quotes from the adventure repeatedly.

Nowhere in the game or its description do I see any mention of the original adventure, of the fact that this is an adaptation and not a fully original work, or any credit given to the original author. There is a vague reference on the itch.io page, but frankly, that's not enough.

In any case this is a poor adaptation.

The early part of the game functions similarly to Leisure Suit Larry, where you have to know the names of specific locations to drive there, but there is no friendly cabbie to let you know the list of locations if you TALK TO DRIVER.

When you do think of the proper locations, all you do is walk through maybe a single room with an under-detailed NPC and then SEARCH whatever's in the room beyond. You can't LOOK UP things in the card catalog, you can't effectively ask people for help, just get to SEARCHing. The game has a conversation topic sequence but you don't get enough words for it to make a difference.

For all that the room descriptions are lush and detailed, not much else is. There are piles of unimplemented objects and default responses to natural actions, you "see nothing special" about unusual objects, and the shallowness makes solving puzzles impossible without reading the author's mind. There are also situations where your PC "decides" not to do something that would be a natural action, or where only one of two synonymous commands has been implemented.

Finally, the game ends with a randomized combat sequence that is heavily weighted against the PC. I was only able to complete it with repeated undos and retries.

All in all, this is not Ectocomp's shining hour. I'm honestly surprised nobody caught this, as "The Haunting" has been included as a sample adventure in several editions of Call of Cthulhu and is one of those "shared experience" adventures that most players have gone through and love to share their individual stories about.

i'm going to come right out and say it: the writing in this game is gorgeously disgusting. the horror is real and visceral, and as you begin investigating it things just continually splatter from bad to worse. even images that might otherwise be comical (like the (Spoiler - click to show)laundry chute) have a cleverness to their descriptions that causes the gorge to rise and the eyes to be averted.

you are a test subject in an experiment run by a (Spoiler - click to show)corrupt and evil corporation ((Spoiler - click to show)really, did i even need to spoiler that?). as such, you've developed abilities beyond mortal ken, used with the new CONCENTRATE command. it takes some time to get the idea of how it works, and i kept finding new wrinkles in my powers as the story went on.

in terms of dream-logic, the horror is consistent and makes sense. you can never be quite sure if what you're dealing with is some kind of magic or merely a branch of science that humanity is better off not exploring. you find many diary pages and journals written by the doctors and others involved in your care, and it's very easy to start to care about certain ones (and to want to bring certain others on charges of crimes against humanity).

so, why three stars instead of five? well ... One Eye Open was clearly not adequately tested. there are constant issues with disambiguation any time you're in a room with multiples of the same object, and there are so many objects with the same noun. the notes your character carries are concatenated into a single object; why not the keys? and why isn't there a better way of navigating notes, possibly using the Invisiclues-style menu system that doesn't seem to have been used at all?

there are also cases where there only seems to be a single command that can accomplish the task. i knew exactly what to do in the (Spoiler - click to show)Autopsy Room but I couldn't get the parser to understand any of multiple phrasings. disambiguation stuck its oar in here as well, because (Spoiler - click to show)any attempt to refer to parts of the corpse, including the vital corpse hand, is redirected to the corpse's mouth instead. a situation like this, where you're locked down and being carefully timed, shouldn't have these issues.

finally, while it's possible to get a good ending, getting the correct ending is basically a matter of luck. throughout the game, you'll experience (Spoiler - click to show)flashbacks to members of the staff dying in assorted horrible ways. in all but one such situation, there's nothing you can meaningfully do. but that one time, unless you ignore the chaos around you and take an unclued action, you're locked out of the true ending. you can't even replay the sequence to try again. this is not fair to the player at all!

overall, there are so many good ideas here. such a good story, albeit one firmly within genre conventions. clever puzzles. but One Eye Open needs more testing and debugging to fix the disambiguation errors, make your notes less of a chore to access, and to fix that one burst of deep unfairness.

There's not much to this one. A small number of rooms, shallowly implemented, many of them either empty or containing exactly one object. There are no real NPCs (there's one other character, but he seems completely unreactive). You can easily access the "waiting room" location (the place where objects that are not placed in a room are found) despite the game not otherwise being "meta."

Most of the puzzles are obvious, repetitive, or completely unmotivated. The shallow implementation can be a headache, with objects that are very different having no disambiguation.

It's a lot like someone's first IF, the one they write to learn how to code and only share with their friends -- a random layout of rooms, a paucity of interactive objects, and a few very basic puzzles.

There isn't anything specifically offensive about it, though; it's just a very basic work without much to it.