Reviews by Rovarsson

We join our protagonist Lil' Ragamuffin (Rags to her friends) and her pet rat/best friend Percy while they are preparing an evening feast: a leather shoe roasted to crispy goodness above their small campfire. A man approaches and offers Rags a way out from the streeturchin life: join the carnival! He gives her a free ticket to come and see it for herself. Against Percy's advice, Rags, unafraid, visits the carnival and soon finds herself confronted with some very nasty clowneries indeed.

Rags is a great character. She's small with a big mouth, keen on adventure and very curious about anything that crosses her path. I often chuckled when I read what actually came out of her mouth when I entered a simple ASK ABOUT command.
Percy the rat is her counterbalance in some ways. He's more cautious, more prone to using his common sense and more knowledgeable about the "civilized" world. To the player, Percy functions as an in-game cluegiver, comparable to Crystal from Illuminato Iniziato, though not as deeply realized. The player should treat him as an in-game convenience rather than as a last resort hint-system. Small nitpick: Percy's hints appear to be location-specific. If you forgot to ask him about the blue-striped giraffe ropeskipping on the ballroom balcony, you'll have to return to that location. (note: No blue-striped giraffes were found nor hurt during my playthrough.)

The map of Carnival of Regrets is very well done. The carnival grounds are clearly subdivided in areas like the Side Show and the Animal Pens. Parts are blocked off by an adversary, almost like a level-boss, ensuring that the map does not become overwhelming and that the player will have (probably) seen everything before crossing to the next area.

The carnival is filled with a diverse and entertaining cast of colourful characters, some helpful (but mostly powerless themselves), some outright dangerous to stray little streeturchins...

It's a true joy to read the adventures of Lil' Ragamuffin as they unfold. The writing is gleefully creepy, with evocative and adjective-rich descriptions of many things grotesque and scary. The enjoyment of the author shines through in reading these passages. In the bigger picture, the action is well-paced, there is lots of freedom to explore, well-placed bottlenecks and a growing sense of urgency as you learn more about the underlying mystery of the carnival.

Sadly, Carnival of Regrets is bogged down by a lack of smooth and trustworthy gameplay.

The world and its contents are seriously underimplemented, and what level of implementation there is is unevenly spread. Sometimes an unimportant scenery-object is vividly described and attempts to interact with it are accounted for, while there are plot-relevant objects that are hastily and too tersely described. This underimplementation means that the game misses many opportunities for funny or helpful responses to "wrong" commands. More importantly, the lack of synonyms for important verbs (for instance: SCREAM works, SHOUT does not) can lead to frustrating attempts at mindreading.

The puzzles are easy-to-medium difficulty. They are well thought out and well clued, some very clever in concept. The lack of smooth implementation hinders the player's enjoyment however. For most puzzles I had the correct solution figured out, but it was still helpful to use David Welbourn's excellent (as always!) walkthrough to get the exact commands when I got stuck.

All criticism aside, Guttersnipe: The Carnival of Regrets is funny, delightfully scary and very well written. Recommended!

The first part of Spider and Web plays an intricate game with the expectations about the relations between player, protagonist, narrator, parser-voice and non-player character. It culminates in a cathartic intuition-bomb.

The second part of Spider and Web is a fast-paced, high-stakes escape-run to the end.

It is an amazing experience.

In the back-chamber of this small church on the English countryside, you meet the sleepy vicar. He recounts of the crypt below that was made by a predecessor of his, and of the legends that there are catacombs below that go back to Roman ages.

He then promptly falls back asleep, leaving you to your own devices to explore the undergound passages.

The oldschool game Crypt is a thoroughly unambitious and unassuming crypt-crawl. This was a big part of its appeal to me. It basically says: "Here, some underground crawlspaces. Now leave me be and go find some treasure. Oh, and try not to die too often."

The command INFO returns a short text where the narrator/parser introduces itself and immediately apologizes for not being as sophisticated as the one from Adventure, understanding only six directions (no diagonals) and a small number of verbs. Its vocabulary is indeed quite limited. The instances where you would GIVE or SHOW {object} in another game require you to DROP {object} here. There is no EXAMINE or LOOK {object}, so you must glean all the information from the sparse room descriptions. Since I'm normally an examine-it-then-poke-it type of adventurer, this required me to adjust my style.

The descriptions are practical and short to the point of sounding cold and distant. This can be unintentionally funny, as some of the treasures would shatter all knowledge we think we have about the Middle Ages or the Roman presence in England.

Apart from figuring out where to DROP the appropriate object, the only puzzles lie in mapping out the mazes. Just as the game itself, these are unoriginal and not too complicated.

Technically, everything works smoothly. I found one typo and no bugs.

A run-of-the-mill treasure-search which I enjoyed very much for the few hours it lasted.

(Nothing in this review gives away solutions to puzzles or tells you what choices to make. However, if you want to experience the contents with a completely open mind, skip this and play first.)

The Colonist's homeworld faces an imminent global freeze-over. The High Company back on Earth, in its benign and charitable friendliness, extends a helping hand.

For a price.

The Ambassador on the Colony has been removed from his duties. He had gotten a little too friendly with the natives to the Company's liking. You are to replace him and negotiate a satisfactory agreement about the evacuation of the Colonists and their resettlement on Earth. You have received rather precise instructions as to what kind of deal is acceptible to the High Company and how to get the message across.

Of course, you are on a planet orbiting a distant sun. Back on Earth, they might have taken you for an easily manipulated handpuppet, but there is not much the Company can do to keep you from investigating alternative options...

You start off exploring an overwhelmingly beautiful world. The natural splendor of your landing spot gradually gives way to a once magnificent city, now rapidly falling to ruins. The descriptions reflect the breathtaking surroundings without lapsing into purple prose.

During this first exploration you are nudged along to find your quarters at the embassy and perform some official duties there. Once you have done those, you can take all the time you want to wander around.

Apart from the readily accessible and very clear instructions from your superiors from the High Company, you can find out the opinions of other people about what should be done with the Colonists. Finding out these alternate opinions constitutes the only real puzzle-solving in the game.
This is necessary if you want to have a full understanding of the situation to base your decision on, but you do not need to solve any to get to an ending.

Your diplomatic decision is to be made on Gift Day, a ceremony of exchanging symbolic gifts. Because of the language barrier, the only means available to you to communicate your chosen agreement is through a combination of the clothes you choose to wear and the object you wish to present as gift.

There are notes and recordings to be found that can inform you about the meaning of the clothes and the gifts. The end-puzzle therefore is not a puzzle at all, but a well-considered choice on your part.

I followed my ideals on the first try and got a bittersweet epilogue, that I have to admit is more realistic than the happy ending I had in mind.

The same goes for the other endings you can reach through different choices of gift and apparel. This made me very aware of the ethical repercussions of my choices as ambassador to all involved, my superiors at the High Company, my fellow humans back on Earth, the Colonists in need of help whom I've gotten to know, and my own conscience and ideals. Each choice can be argued for with strong arguments, even though some may run counter to impulsive feelings of empathy or self-defense.

The ethical consequences of the game's choices could spark a night-long philosophical debate in the real world about humanity, identity, refugees, personal responsability, climate change and how to face it,...

Or one can just savor the experience of dressing up as a sci-fi diplomate and enjoy the delightful writing and surroundings.

Either way, a magnificent game.

I remember getting a very intimidating book as a present when I was a small child. I was amazed that it had more than a thousand pages. It seemed impossible that anyone would get through such a huge story. It turned out to be a "365 Bedtime Fairytales"-book, with a 3-page story for each night.

What was a relief in the case of the bedtime book turned out to be a disappointment in the case of Jigsaw, a game I had been looking forward to playing for a long time.

Instead of a sweeping epic story taking me past the turning points of recent history, I got 16 smallish (but hard) bedtime puzzles barely held together by an overarching plot. Just as with the bedtime-book, Jigsaw took a long time to finish. I would hardly call it a big game though. More a series of historical vignettes, to be experienced and enjoyed at the player's leisure.

As for the overarching plot, anyone's guess is as good as mine. Here's what I made of it: Black has a plan to change the past to mold the present and/or future to Black's priorities/preferences. You don't want that. (Even if some of the changes Black tries to make are really good ideas, like (Spoiler - click to show)preventing World War I...) Your task is to find and reverse the temporal disturbances Black leaves in his wake as he visits certain important times in the 20th century. Black's and your motives for all of this remain in the dark (to me, at least).

After a confusing introductory sequence (where you need to find an unmentioned exit to progress, not for the only time in this game...), you arrive in the central hub/control centre. From here you can access the different time-areas where you need to solve a puzzle.

Fortunately, the time-areas are mostly independent from each other. As you enter one, you should be able to find everything needed to fix the temporal disturbance. This makes the puzzles merely hard, instead of impossible. Allthough the number of rooms and available objects is limited in every area, you have to time your actions carefully and execute them in a particular order. SAVE and RESTORE are necessary parts of the gameplay.

Most of the historical vignettes were very enjoyable, clearly well-researched and very satisfying to solve. Some were either too hard, or were solvable but took me far into try-everything-on-everything terrain.

I missed a cohesive backstory tying this game together as a whole. However, it's well worth exploring and trying to solve the puzzles independently. As I said: very satisfying.

Happy birthday to you!

It's your special day and your parents have gone all out and got you the Queen-package for Grooverland. It's an all-access special treatment pass for your favourite theme-park, with a coronation ball in the big castle included. You just have to enjoy the rides and find your Queen-stuff while you're at it.

A seemingly light and humorous plot, told in a funny and colourful tone. Until you get a bit farther along on your quest and start gathering the regalia you need to enter the Queen's castle. A darker dimension lies behind our own, and obtaining the symbols of your royalty causes it somehow to overlap more and more with the happy theme-park reality, subverting our familiar world into solid scary-clown territory. (Coulrophobics can rest assured, no actual scary clowns appear in the game)

The writing seems to have some trouble keeping up with the gradually changing atmosphere. The descriptions do change while the game-world devolves into a darker version of itself, and random background events now depict monstrosities selling snacks, but I never had the feeling of being dragged down into darkness with the protagonist though. I was more a curious but distant observer than an involved participant.

In part, this is because the puzzles are so darn good. They are very accessible, even on the easy side. At the same time, they are wonderfully original in the most creative way: take something that's well-established and add an unexpected twist. The laser-fight puzzle is among the best I've ever seen, while it is in essence a "push the right button"-puzzle in disguise.

Now, the accessibility and originality of the puzzles demands that the writing be crystal clear (which it is), without any ambiguities in the descriptions, so the player can clearly visualize the surroundings. This takes precedence over describing the atmosphere of the changing game-world. The clarity of the puzzle-descriptions shines a bright spotlight in the supposedly dim and gloomy alternate realm taking over our world, causing it to be not so dim and gloomy.

Grooverland's gameplay made a very solid, robust impression on me. The game-world felt like it was there, and I could try whatever I wanted without fear of breaking anything or confusing the underlying order. There are helpful NPCs, funny references to other games, a lot of tinkering and experimenting puzzles, all leading up to an exciting endgame.

The grand finale is just the way I like it. I have proved my worth during the middlegame, solving the fiddly puzzles with the many possibilities. Now it is time for a straightforward but very exciting and well-paced boss fight. Excellent way to reward the player and to leave him with a sense of accomplishment after finishing the game.

I enjoyed this very much.

(This review is for the competition release of the game. I fully expect many of the bumps to be smoothed out in a postcomp-release.)

I spent a lot of time with The Faeries of Haelstowne, most of it enchanted by the story, the setting and the beautiful prose, some of it frustrated as hells (yes, plural) by missing objects or unresponsive parser issues. I developed a rather passionate love-hate relationship with the game. By the time I solved it though, the balance had wholly shifted to love and I wholeheartedly forgave and nearly forgot the frustration.

The vicar of an old and quaint English town has disappeared. Police detective Arthur Mapple is called upon to solve the mystery.

The setting of The Faeries of Haelstowne is wonderful. A rural English town with its old history mingled together with even more ancient folktales makes a good place for a Faery-tale. Even better: the tale takes place in the early 20th century. Belief in the spiritual realm, contacting the dead through séances and looking for nature-spirits was combined with an urge to research these phenomena from a new scientific/empirical viewpoint. The rising popularity and technical simplification (to a point) of photography made for enthusiastic amateurs seeking to capture the spiritual world on photo-negative.

It is against this background that we see the arrival of our protagonist in Haelstowne. The first chapter is a lighthearted exploration of the magic-realistic rural surroundings of an old Vicarage. Puzzles consist of multiple steps but there is good guidance. The player is mostly being primed for what to expect in later chapters.

In these later chapters, the mood grows darker and the puzzles more complicated and difficult. Partly, this is because, well, the puzzles are more complicated and difficult. However, it is also in part because there are frequent issues of guess-the-verb and of read-the-author's-mind. One puzzle in particular ((Spoiler - click to show)the antimagic object above the window) has many, many reasonable alternative solutions, all of which are ignored in favor of the one the author had in mind. To add insult to injury, that solution does not even use the object that the author has made us use in a previous and similar puzzle: (Spoiler - click to show)using the portable steps to get to high places....

The entire game is written in delightful prose. Eloquent and evocative descriptions, long-drawn-out but never boring conversations and cut-scenes. It's a joy to have such a wonderful game-world described in such beautiful prose.

The characters that Arthur meets during his investigation are interesting and lively. They all have their own personality and if they are helpful to Arthur it is because their own profession or personal choices brought them on his path, not cajoling or manipulation by Arthur.

After solving many puzzles, meeting a few helpful and not so helpful characters and finding out what indeed has happened to Vicar Peldash; in short: after navigating the complexities of the middle game, all the loose string are bound nicely together in a thrilling and expertly paced endgame. I was on the edge of my seat as I typed the last set of commands.

A truly magical experience.

...then how will the Aardvark learn to swim?"

A small taste of the sometimes absurd sense of humour that pervades Augmented Fourth

King Goosen of Papoosen did not enjoy your rendering of "Ode to a Duck". Consequently, you and your trusty trumpet are thrown down the pit, where you discover a community of sorts living at the bottom of the volcano.
Determined to make it back top-side, you must now overcome the obstacles that stand between you and the closed off ladder to the castle. You have your wits and your magically enhanced trumpet.

Instead of memorizing magic scrolls, in Augmented Fourth you must obtain and learn music sheets. Each of the melodies has its own effect on your surroundings and as such functions as a wizard's spell. This magic system is worked out in detail. If you play a particular ditty in a location that is not the intended puzzle-room, the surroundings will still react, sometimes hilariously. The actual effects of the spells are mostly natural phenomena (rain, gravity, ducks...), so it is not too difficult to judge which spell/song to play to solve a particular puzzle.

The game keeps a nice balance between magical solutions and more prosaic adventuring puzzles. Along with summoning ducks through trumpet-playing, you will also need to do the usual bit of exploring of the cave and manipulating of the objects.

The cave under the volcano has a splendid map. The adventure starts off in the center of the volcano, also the central hub of the area. All directions save one are open for exploration from the beginning, and multiple puzzles are accessible from the start. Almost without noticing though, you will have less and less options to pursue, effectively pushing you to the bottleneck in the northern quadrant. From there on out, the game shifts gears and the story gets on fast-moving railroad tracks to the hilarious finale.

A finale that is foreshadowed throughout the game in small amusing intermezzos narrating what is happening with the King up top, who is spiraling down to ever more insanely funny despotic madness.

Modern IF is often lauded for the way the puzzles are seamlessly integrated into the story. Augmented Fourth turns this on its head: the story is woven seamlessly around the puzzles, which are without a doubt the real reason of existence for this game. In many of those puzzles, well-known adventuring tropes are averted, subverted, completely avoided or twisted in a knot. Breaking down the player's expectations often leads to fantastically comic situations, when a certain build-up of tension is suddenly relieved in an unforeseen direction.

There are also a number of playthings that are just that: items to play around with. They're not even red herrings (of which there are also a fair number...), just opportunities to idly while away the time. In the same vein, there are a number of books that provide hints; they mostly provide page after page of completely unnecessary sillines.

A very silly, moderately difficult and very smoothly playing puzzle-romp.

Isaac Newton: Mathematical Lawmaker.
Charles Babbage: Father of the Computer.
Abraham-Louis Breguet: Master-Horologist.

These intellectual giants played front-stage roles in a cultural movement during the 17th and 18th century where natural phenomena were being pulled out of the realms of chaotic randomness or transcendental intentionality and grasped in terms of their inner mathematical and mechanical orderliness.
The passage of Time ( Abraham-Louis Breguet), the patterns of Thought ( Charles Babbage), the regularities of Motion and the intricacies of Calculation ( Isaac Newton) were captured both in logical/mathematical deductions in the mind and in mechanical contraptions of cogs and chains.

While aiding in freeing the human intellect of religious dogmatic thinking and opening up the path of naturalistic explanation and exploitation of the world, its mysteries and its resources, this mechanistical worldview carries within itself a rigidity not dissimilar to religious dogma. Once Nature is caught in Logic and Clockwork, it is unchanging and deterministic.

The world of The Shadow in the Cathedral exists as an exemplar of this rigid-mechanistic historical path. The cathedral from the title is a worshipping place for the three saints mentioned above. Worshippers make the sign of the lever when they PRAY. Priests gather around an altar and bow to the clockwork in the tower. Mechanical order replaces/equates divine order, with very similar institutions to uphold that order.

“The candles move in the space between floor and ceiling, the way the stars move between Earth and the Great Darkness of Heaven.They follow winding metal tracks that cross and recross along the length of the Great Hall, and as they move, pools of light form and then dissolve, so that some parts of the chamber are brightly lit at times whilst others are quite dark. The candles move day and night, with automatic systems to replace those that burn down to the stub.”

This paragraph might seem somewhat wordy, but it captures the atmosphere of the game-world perfectly by elaborating on something as down-to-earth as candlelight while the bigger background is never laid out this explicitly. Instead it has to be inferred from these detailed minor descriptions. To this reviewer’s preferences, a leather-bound tome on the development and history of the clock-bound civilization to LOOK UP BABBAGE would have been very welcome indeed.

Wren is a lowly clock-polishing grease monkey in the Abbey. While cleaning the Abbot’s grandfather-clock, he overhears a conspiracy between a mysterious Figure in Grey and his Abbot to mumblemumble…

When even the Archbisshop will not hear him, it is upon Wren himself to unravel the nefarious scheme.

Story takes precedence in every way in this game. The authors have gone to great lengths to eliminate annoyances for the player. When there is an important action to be taken, numerous but well-considered commands act as a trigger for that action to further the plot. There are calm exploratory and conversational parts where both Wren and the player can catch their breaths and learn more about the city. There are frantic chase sequences where it seems both Wren and the player will be out of breath a moment later but still push onward.

And of course, there are obstacles. Many, many obstacles. Not one of them breaks the flow of the story. And some of those puzzles are beautiful. Beautiful in that they combine storytelling, logic, engineering, associative reasoning and storytelling (yes, I meant to write that twice…) to engage the player and commit the Wren-and-Player team more and more to solve the mystery together.

Two puzzles are extraordinarily good. They are also great examples of the breadth of reasoning the player is asked to do . One is a completely down-to-earth physics question ((Spoiler - click to show)the door in the warehouse). The other is an excercise in associative programming ((Spoiler - click to show)the clockwork computer).

During Wren’s investigation, he will meet several people on his way, both friendly (good for Wren and the player needing clues) and malignant (great for the authors and the reader needing suspense). Although the conversations are ASK/TELL, they do not descend in awkwardness. Sometimes the characters won’t answer, but they are almost always believably occupied with other worries or tasks of their own. And even while they are otherwise engaged, their dismissive answers make sense in context. Nifty programming and great attention to both the detail of the immediate surroundings and the big picture of where Wren has gone before.

The Shadow in the Cathedral is a remarkable feat of intertwined puzzle-engineering, worldbuilding and philosophy.

Of course it is sad to have the story broken off after what should be the first chapter of a series. A word of wisdom to the prospective player: let the clock’s tick-tock take you to the bell, and let your imagination take over from there…

I loved every minute, hour and day of this game.

And a small but hopefully annoying heads-up to the authors: the chapter-titles are misaligned. for example: (Spoiler - click to show)the chapter-title says “The Rooftops of St. Philip” after the chase across the rooftops. By then Wren is already safe with Covalt. This is just an example. Every chapter’s title (except 1 & 2) comes after the story it’s supposedly about. A grating flaw in such a great piece. I would find it hard to believe that you would not return to The Shadow of the Cathedral to put the titles in order. (or is this a reflection of the rebellion against the clock?).

It all begins with a rather awkward protagonist to control: a pig (which can alledgedly sniff out wizards...) Since pigs walk on four feet and have no opposable thumbs, a lot of commands are thrown out the window by nature of the PC. And although pigs are known to be very clever animals by those who study them (pigycists?), this particular pig does seem to rise even above normal intelligence levels of other members of the species Sus scrofa. For one thing, it can read...

Seeing that this smart pig is somewhat limited in the handiness department, it must find other ways to further its goals. Cue NPCs. By virtue of an excellent grasp of human psychology, our protagonist-pig can manipulate the other characters into following it around and it nudges them to interact with objects or other characters through very deliberately SNIFFing of pieces of the surroundings. Different characters will act upon this sniffing in different ways, according to their nature.

One of the pig's major ways to solve puzzles is therefore to choose the right NPC to come along and do the hands-on work. Instead of switching between PCs with their special abilities, here our pig-protagonist has to switch between NPC accomplices. The way this is handled in-game is both elegant and hilarious.

The puzzles flow seamlessly from the story and the setting. Some of them are pig-adjusted variations on standard adventure-fare, while others are truly surprising and original.

The writing is fresh and crisp, with a truly great comedic touch. There is lots of physical slapstick comedy, but at least as much of the humour comes from the pig's observations of the humans. Our pig always keeps a certain distance and so can easily see through the notions about identity the NPCs have about themselves.

Through these observations and the development of the story, what started as a laugh-out-loud comedy evolves into a character-driven drama by the finale. The Aesop that becomes clear near the end could have been cliché and heavy-handed, but the lightness and subtlety of the writing lifts it far above a finger-waving moral-of-the-story.

Truly one of the greatest games I have ever played.