Ratings and Reviews by Rovarsson

A masterly example of sparse efficient writing. free bird relies on adjectives and nouns alone to paint the setting and the elements of note within it.

Without elaborate (or even short) sentences and turns of phrase, it highlights only those words that are crucial to the game. However, the game world feels rich and open because of the very clever choice of words and particularly of adjectives. An adjective-noun description of a sickly iguana reviving when its warm light is turned on triggers an entire story and a sequence of rich images in the mind in a lot less words than this paragraph I just wrote about it.

The puzzles are clever, it took me some time-outs to get the solution worked out in full. Because free bird is a click-based game, it would probably be possible to mechanically brute-force the solution a bit easier than it would be in a parser. But then, why would anyone play just to take the fun out of it…

Very clever use of language, nifty puzzles with limited resources.

A great protagonist accompanied by an interesting cast of supporting characters too. Again, despite (or thanks to, depending how you interpret it) the self-imposed language limits, their personalities are clear, with a few poignant details shining through to mark their most important traits.

I liked this very much.

What could be more comforting than sitting in front of a crackling fire, reading a book, sipping from a cup of steaming hot cocoa…

But it feels like something is behind the metaphorical curtains…

Very effective juxtaposition of atmospheres. Both the writing and the visual presentation draw the player into the intended moods, preserving a lingering taste of what the surroundings felt like before while submerging her into the present situation.

Some links could be elaborated upon a bit more. ((Spoiler - click to show)The effects of the drinks or the books for example.) On the other hand, having the choices not have much causative power does fit the premise.

It would be ruinous to divulge more. This is one to experience, eyes and ears and imagination wide open.

This game is based on an idea of mine that had been lingering in the back of my mind for a long time. SeedComp seemed like a perfect opportunity to put it out there and see what might come of it.
B.J. Best took the intro/starting room I wrote and ran with it, expanding my vague outline to a full-fledged puzzle game that far exceeded my expectations.


I loved it. I was teetering on that fine edge between challenge and frustration the whole time, without (and this is the brilliant bit) ever slipping into desperation. A feeling similar to playing MarioTM and falling from an unstable platform into a spiked hole for the sixteenth time, but still being convinced you’ll get it next time.

The puzzles require very careful observation and very thorough experimentation, but they follow a reliable cause-effect chain and are perfectly fair.

There are a bunch of independent timers and turn-based puzzles to tackle, lots of buttons and a myriad of levers and wheels. The more I discovered during playtesting, the more I stood in awe of the complex technical mechanisms under the hood.

I felt like I could completely put my trust in the game, and that any blockades I encountered were logically solvable. The pleasant frustration I had during play came from the feeling that I could almost touch the solution with my fingertips, almost grasp the mechanics underneath, but not quite yet.

----One more test, one more variable to check...
What happens if I pull this lever first?----

That's odd... The miniature globe you got from your great-aunt for your tenth birthday is stuck. It doesn't spin anymore. You lean in closer for a better look, and before you know it you're tumbling and twisting through dimensions...
When you come to, you're standing on the small world that is your toy-globe, your head high in the upper atmosphere, mountains and oceans mere details at your feet far below.

I like this "just because" leap of imagination. No magical powers or SF-ish technobabble to rationalise or justify the weird stuff. Just dive right in and roll with it.

There's a series of Calvin & Hobbes strips where Mr Watterson went for absurdity for absurdity's sake. For several days, the strip showed nothing but Calvin just growing bigger and bigger, until by the end of the week he was balancing on the curve of the earth with his head above the clouds. That image provided the visuals in my head while I was playing Small World.

The seemingly simple gimmick of sheer size completely changes the perspective on the game world. Movement on a non-rotating globe means you travel to different times of day, depending on where the sun is located. (For example, Noon is one step east of Morning.) Since all natural and man-made objects are tiny compared to you, you have no access to any everyday objects to help solve the puzzles. Better look around and find some stuff more fitting for your size...

Many of the locations have some evidence of human civilisation, for some reason wildly varying in historical time. A medieval witch-burning is happening in one location while your toes get bombarded with atomic bombs in another. Still, a pivotal bible-scene in one location and the appearance of the Devil himself as NPC help to loosely tie the story together thematically. "Loosely" being not strong enough a word to accurately describe it, but well...

The implementation and polish of Small World are impressive. Your examination and exploration of the world goes several layers deep, especially once you find the handy lens in your backpack. However small the lands at your feet may be, there's a lot of evidence of life and natural processes. Your little globe is not a static artefact at all.
The pesky Devil-NPC is not a deeply realised character, nor does he need to be. His continued presence and insistence you sign his contract make him as annoying as a mosquito zipping around your ears.

As for the puzzles, let's say a lot of them make about as much sense as the premise of the story. I had fun the whole time trying stuff and tinkering with the parts of the surroundings that I could influence, but I did need some help actually solving a lot of them.
Some are nice obstacles where you need to think outside the box a bit and repurpose certain objects. Most however require unfathomable leaps of the imagination and a large dose of moon-logic to stumble upon the solution. (Thank you @David_Welbourn for the great walkthrough. I would not have gotten the planetary ring without you.)

A little solar system of fun.

It's been ages since you went to visit your grandparents on their old farm. Old, as in barren and empty. Old age and debts forced them to sell the cows and leave the fields unplanted.
Your tired mom drops you off rather hurriedly, right when your grandmother angrily slams the porch door on her husband. Hmm... A bit of tension there?

Although you were anxious in the car about spending so much time on a farm without electricity (which means no TV), you're warmly welcomed and quickly default to kid-on-a-farm mode: explore and have fun.

Your grandparents are not the hovering caretaker type. They go about their business and trust you to enjoy yourself in the wild outdoors and have adventures.
As NPCs, they're not very talkative, replying to questions with short and to-the-point answers. Nonetheless, they are loving and helpful when you ask them questions, providing some backstory about the farm's history, some glimpses into your mom's childhood, and sparse clues about the obstacles you encounter.

On the Farm is mostly finegrained, almost simulationist in its implementation, with deep and heartfelt descriptions of locations down to a detailed scenery level. Further into the adventure, when the player is presumably more concerned with advancing the plot and finding a direct route to solving the puzzles, the detailed implementation falls through a bit. In later stages of the game, there is more undescribed scenery, a comparative lack of reasonable synonyms and alternate commands. For the player wishing to stay in the role of an inquisitive kid exploring the surroundings, this breaks the illusion somewhat.

The farm environment is mundane, realistic and down-to-earth, don't expect any strange contraptions or magic. (With one exception to be found in a meta-command: (Spoiler - click to show)XYZZY brings up a list of locations, allowing you to transport to any you have already visited.)
This allows for a brilliant multiple use of the everyday objects you find on the farm. They serve to help your grandparents with little tasks and chores, plus most of them will be necessary in unexpected ways to solve the steps toward the solution of the overarching puzzle.

The game-side of the story consists of an engaging chain of not-too-hard puzzles which do require some thoughtful applications of those everyday objects. The end-goal is quite obvious from the get-go: talking to grandma and grandpa will point you in the right direction, and many clues are scattered throughout the house and the outdoors. These clues are directly linked with the story, allowing you to recreate your mom's childhood and your grandparents' life from small bits and incomplete hints.

On the Farm presents two interwoven layers of atmosphere.
There is a melancholy, a still sadness. Here are your grandparents, here are an old woman and an old man, living the remainder of their life on an old, unused and almost empty farm. A feeling of loss and ending.
And here you are, a ten-year-old kid running around and exploring, having an adventure. Bringing young life and joy and action to this place.

These two sides come together in an understated heartwarming endnote.

Jen just got her backside handed to her onstage in a battle-exchange of "Yo Momma"-jokes. This calls for revenge! And nothing shuts up a smug bully like Gus faster than the raw truth. Time to go snooping around the club for some insult-material that will leave your opponent stammering and crying for his mommy...

Actually, this game's setup is very reminiscent of the loosely biographical Eminem vehicle whose title I referenced above. I had a lot more fun with Raising the Flag on Mount Yo Momma than I had watching the film though.

The author manages to believably cram three multi-step puzzles in a tiny 8-location map. All locations have their clearly delineated function in the logical sequence of subpuzzles, sometimes more than once. The general club atmosphere is maintained throughout while the separate locations get an individual vibe.

The practical side of the writing is great. Uncluttered descriptions with the important stuff clearly standing out without becoming a dry list. A step-by-step hint system that masquerades as an in-game THINK ABOUT command. Easy communication through TALK TO, SHOW TO, or INSULT (of course...)

About half the puzzles require finding and using objects, often clever and always firmly in the time-honoured adventure style. The other half is all about NPC manipulation. On my first round of exploration through the club, already a few dozen ideas popped into my head for distracting, coercing, or otherwise using certain NPCs to further my goals. Most of these were too farfetched, but when some of my ideas turned out to work, I couldn't resist a little fist-bump. ("Hah! I told you I'd get you!")

The goal that needs furthering is, as is implied in the title of the game, perfecting your craftsmanship in dragging someone's mom through the mud. That's not cool. But a lot of Yo Momma-jokes are so over-the-top and exaggerated to the point of absurdity, or just plain bewildering non-sequiturs, that they do become funny (or at least groanworthy) again. The fact that the protagonist is a young girl standing her ground in a macho-dominated environment also shaves a lot of the viciousness off the insults.

However, the only time the "jokes" do become cruel is during the final confrontation, when this sympathetic young girl mercilessly uses the secrets she found out about her rival to grind him into the ground. (Jen reminds me of Lil' Ragamuffin from the Guttersnipe-games in a way. You wouldn't want to get on her bad side.)
Somewhat justified perhaps, because the antagonist character really is a bully, and because Yo Momma battles are ugly fights so those who enter should know what's coming.

I for one would like to see Eminem try to stand his ground against Jen.

The Bony King of Nowhere is not a good game. It's clumsily written, with descriptions that somehow manage to be short and rambling at the same time. The tone shifts unstably between overwrought attempts at humour and heroic fantasy played straight.
The author unevenly shook a big bag of capital letters over the Objects in the game, so they are all capitalised. Except when they're not. A bunch of apostrophes mutinied and decided to pick all the wrong "itses" to go hang out.
The way the location descriptions are printed is wonky, with one half of the text on top, the automatic object listing in between and another few lines of description underneath.

It took stamina and dedication to power through instead of throwing it aside after the first few rooms.

And yet...

Underneath the clumsy wonky wobbly writing there is actually the scaffolding of a decent fantasy adventure quest.
The map is small and seemingly straightforward, but it has enough twists and turns to make it interesting. Similarly, the puzzles come across as simple, but most have a little hindrance or extra step that gives them the necessary satisfaction value.

And the inclusion of NPC Gerald the Heroic Mouse is a stroke of brilliance.

Oh, if only the author had sent this through a few more rounds of testing, and sat down at the writing desk a while longer...

Finally! The archeological researchers must have realised they couldn't understand this thing by themselves. After three months in the brigg, you get a chance to analyse this alien machine yourself. Under close supervision of course...

The Weapon is essentially a complicated puzzle box. Lots of buttons, a few technogadgets, a sequence of actions to figure out. On the surface, the puzzles are not that hard to figure out. It's just that, between the exact order of commands and the annoying presence of your supervisor, there's always a few extra complications to deal with first.

The descriptions of the surroundings are finetuned to the purpose of the game: clear, easy to visualise, no distractions or red herrings. There's a bit of colour in the alien aesthetic of the room, and the outer-space setting is hinted at without requiring further investigation. Although it's not necessary to talk at length with the NPC, the conversation tidbits do lend a bit of characterisation and context.
Even though it's a difficult balance to avoid giving the player too much information in a game like this, I would have liked a bit more exposition and backstory. It would have helped the emotional engagement with my PC.

Looking a bit deeper than the puzzle box at the surface, taking the at first minimally understood premise into account, The Weapon plays a subtle game with the different levels of knowledge about the situation of the NPC, the PC, and the player.

The game's subtitle is "An Interactive Misdirection". This is clearly implied in the relation and conversation between NPC and PC at the start of the game. The protagonist must keep progress on the machine hidden from the supervisor, lest the research is halted once the NPC figures out too much by herself.

But it also holds true in the relation between PC and player. The player is moving forward half-blind, motivated in-game by the vague objective of the PC, and out-of-game by the wish to solve the game's puzzles. This leads to her being led to an unsuspected (at least for the first half of the game) outcome. The twist was both simpler and more surprising than I had anticipated, even when it's obvious from the beginning that the goals of PC and NPC do not align.

A very clever game of NPC- and player-manipulation, manifesting itself on different levels of understanding.

Having a huge number of followers is great when you're the prophet of a new religion, but all those people tend to get hungry and grumpy at some point. Sadly, sermons don't sate their bodily appetites.

Playing as Jesus Himself, in The Bread and the Fishes it falls upon you to provide the five thousand believers who have gathered on the shore of lake Gennesaret with food. While you're at it, you might as well grab the chance to heal some sick, wounded or disabled people.

The author thought it funny to portray the relation between Jesus and God as an irreverent father-son buddies friendship, filled with informal speech and anachronisms. Not that this bothered me, I just didn't think it was funny.

Overall, the game is well-implemented and detailed. It has a pleasant atmosphere throughout, with nicely written locations and characters. The puzzles are mostly easy and straightforward, except for one mathematical problem which, allthough not too hard, is a bit of a bore and doesn't fit the tone at all.

An attempt at a funny riff on the miracle of the bread and the fish, not always successful. The mythological gravitas of this bible-episode is completely stripped away, and the jokes are not good enough to fill the gap. Even then, a pleasant way to spend an hour or so.