Reviews by Rovarsson

You awaken to a wonderful day after a good night's sleep, ready to begin your duties as druid-priestess of Fort Aegea.

Alas, the day has not progressed far before life in your orderly settlement is disturbed by the arrival of the Green Dragon Phixio. He demands four thirty-year-old virgins to fulfill the conditions of an age-old pact (which you had no idea about, seeing that Fort Aegea was not yet built the last time Phixio came to eat some people from this area).

The introductory part of Fort Aegea made me want to play a longer simulationist game in this setting. As priestess, you are healer and spiritual helper to the inhabitants of a peaceful grain-processing settlement. You settle disputes between inhabitants and oversee the overall functioning of the harvest and distribution of the crops.
There are some books in your room with textdumps of background information about the history and geography of the game world. Reading these is not necessary for the game, but I enjoyed the wider view they provided very much.


This part of the game is very deeply implemented. Since your time before the arrival of the dragon is limited, I restarted several times to poke around in all corners of the town and try to see as much as possible. I encountered some trumy pleasant surprises.

The pace of the game changes radically once the Green Dragon shows up. As a wager to stall him, you must stay alive until nightfall. You are granted a small headstart to outrun the beast or hide long enough.

From a central hub location, you have immediate access to four areas. In each one, there is a straightforward/railroaded path through a few puzzles and back to the hub. The difficulty lies in finding the right sequence of moves before the dragon catches up. To accomplish this as the player, there will be a lot of try-die-repeat and even more UNDOing.

My recommendation: be sure to have a saved game at the hub and just take the deaths as they come.

Most of the puzzles are clever enough, some on the other hand are rather obscure. Aside from run-of-the-mill adventure techniques, you have a variety of spells at your disposal. The spells are based on a druids attunement with nature (water- and plantbending instead of burning the place down). They fit nicely with the puzzles without feeling too much like being custom-built solutions for one specific problem.

The writing is good. I personally found it too detailed and distanced to really pull me along emotionally, but it does a good job of painting a vivid image of the surroundings.

Similarly to The Jewel of Knowledge (which plays in the same world), a very enjoyable game in an interesting setting.

A cave, three dragons, a maze and the magical gemstone from the title. Sounds a bit much like a well known fantasy path already trodden into the mud, no?

A classic fantasy adventure is a pleasure to play if it's well made. And The Jewel of Knowledge is well made.

The cave is easily visualized, with three main paths to explore. On the way however, you will need to find and open several secret passageways and get to some hard-to-reach corners.

The maze is subtly hinted with an original solution.

The puzzles are clever without stopping you in your progress too long.

The dragons are impressive and hard to beat.

That makes for an adventure worthy of spending my time on. But! What really lifts The Jewel of Knowledge above your average cave-crawl is the personal perspective it takes to the protagonist and to the entire business of adventuring.

The (minimally) interactive prologue casts a thoughtful light on the entire game. It caused me to feel much more sympathetic towards the protagonist and to understand his personality and motifs better.

The ending tries to rise above cave-crawl expectations too, but doesn't succeed as well. It comes off more as a finger-wagging moral lesson.

Still, very good game.

It's been too long since you and John got together for some heavy liquor sampling. For some reason however, he didn't show up. When you go to his house, you find that John has disappeared and that a mysterious hole in his basement has appeared. Hmmm... What to do?

John's Fire Witch takes the basic structure of an old-fashioned cavecrawl and ditches a lot of ballast, resulting in a small and focused adventure.

Instead of having a sprawling map with many connecting junctions, confusing layout and mazes, John's Fire Witch is confined to about 35 rooms. A few clever twists in the layout do provide a limited sense of exploration though.

The simplistic scenario functions as the backdrop for a small number of really good puzzles. You'll have to use some basic real-world physics and pay close attention to the wording of object descriptions. The final puzzle requires an intuitive leap to use one of your objects in a new way.

The writing is very good on the level of individual descriptions of rooms and objects. However, I found that the old-school approach to the overall atmosphere didn't work so well. The game wavered between lighthearted and self-deprecating humour on the one hand while never quite succeeding in evoking a scary-underground-tunnel feeling on the other.

The game misses a lot of opportunities to flesh out its atmosphere. Many plausible actions are not supported, background scenery is mostly unimplemented... On the whole, I felt that there should be more stuff there to look at (even if it was just the cave ceiling). This is perhaps justified by the theme of the final room, which is just full of stuff (presumably hoarded there by the antagonist). Here, the overabundance of stuff serves to make the endgame hard and confusing by giving you so many options that you could never hope to try them all within the limited time allotted to you. SAVE-RESTORE is your friend...

Good fun.

Just saying, it's pretty easy to lose sight of your ultimate objective in this game.

Not Just an Ordinary Ballerina is a beast, a mountain, a leviathan of a game. There is nothing that would resemble a plot, no matter how vanishingly vague your definition would be. There is naught but the flimsiest of framing story to get you going, but I frequently had to remind myself that my end-goal had something to do with that short intro from way back in the beginning.

This is not a story-oriented game. It is an unapologetically hard and big barrage of puzzles.
There is a large variety of puzzles, and they are all logical/common-sense in hindsight. There are no solutions randomly pulled out of the author's hat that would make you say "No way!" even after finding the solution (or looking it up). This changes nothing about the fact that this game is hard.
There are different reasons for this:
-The pure huge scale of the game-map and the amount of objects, puzzles and clues in it. The sheer amount of information that gets thrown at you is mindboggling. It's a real challenge to keep a list of puzzles and their clues in your mind while playing, even with a notebook. Add to that the objects that are not always used straightforwardly, and the heap of information is very big.
-The author has no scruples about throwing out-of-game anagrammatical and mathematical puzzles at the player. I could almost hear his whispers: "You signed up for this out of your own free will. Now let's see you cope with this."
-Four mazes. In two of them I could use my inventory objects and some real world problem-solving to make sense of the order, the other two bamboozled me into cheating (David Welbourn's walkthrough is excellent).
-There are a good number of more traditional adventure game puzzles. The solutions howeverdepend on non-traditional use of objects, timing/turn-counting and meticulous attention and analysis of the descriptions of locations and their relations to each other.

Without a plot to keep the interest piqued, Ballerina must rely on the internal motivation and curiosity of the player. For me, this worked all through the game (3000+ moves). There is just so much there, and so much just around the corner that I had to tear myself away from the screen on many evenings. Luckily, this often meant that I had found new ways to tackle an obstacle the next day.

Another thing that holds this game together is the excellent descriptions of the setting and the pervasive atmosphere of the abandoned shopping-mall.
Never truly scary, but always consistently creepy.

An excellent classic game. Take your time when you engage this. I spent three weeks on it, with occasional hints. Three weeks of fun.

On Highfield Lane stands a creepy house. Its windows seem to watch Mandy everyday as she walks past on her way home from school. As creepy houses' windows tend to do...
One day Mandy finds a letter on the pavement outside the creepy house's door. She decides to deliver it to whoever lives in the creepy house. As she enters the hall, the door slams shut behind her. As creepy houses' doors tend to do...

Mandy is a very engaging character, the polar opposite of a generic adventure hero. She has definite opinions and feelings and the player will know it. The author accomplishes this in various ways.
The game is written in the third person. I found that in some games this can be distancing, putting the player in the role of a mere observer. Here however, this perspective offers another road to immersion. Instead of forcing the player to roleplay, getting inside the head of the protagonist while being addressed as "You", The House on Highfield Lane gets the player to be a close companion of the PC, looking over her shoulder and guiding her while being complicit in Mandy's actions and decisions.
Mandy's movements and actions and the creepy house's rooms are described from her own very subjective viewpoint, giving us a more and more clear view into her personality. The descriptions are interspersed with bits of Mandy's interior monologue, showing us her unfiltered thoughts, swearwords and all.
This view we get of the protagonist's personality also evolves throughout the game, something seldom seen in puzzle-oriented IF. At first somewhat timid, intimidated by finding herself locked inside the creepy house, she becomes more brazen and unafraid as the game progresses. This is very nicely reflected in her interior monologue. Later in the game, her thoughts amount to: "What the hell, I've already come this far in some stranger's house, why not do this completely unappropriate thing and see what happens." (This is where the swearwords are very effective.)

Upon first entering the creepy house, there is indeed much to be intimidated by. What seemed to be an ordinary house in a row of equally uninteresting houses from the street turns out to be a grand historical mansion on the inside. Lifesize portraits look down on Mandy from the walls of high and spacious rooms.
Even more intimidating, and effectively disorienting to the player is the author's cunning use of space/geography. Once in the house, there are doors in directions impossible from the outside and upper storeys that should not exist. I for one had a lot of fun mapping the place.
What's very interesting here is that the player's growing familiarity with the map through further exploration closely mirrors Mandy's growing confidence as she wanders around the creepy house.

The House on Highfield Lane is very much a puzzle-game. The seemingly simple objective of delivering a lost letter leads to an increasingly complicated and improbable series of obstacles The flimsy plotline is naught but a pretense for presenting the player with a collection of puzzles. These are mostly intuitive but always have a clever twist. I had my fair share of "Aha"-moments while brainstorming about how to tackle this or that problem. Despite the sometimes surreal nature of the puzzles, they are held tightly together by the game's mood and atmosphere.

This brings me to a highpoint of the entire game: the splendid writing that binds it all together. The descriptions are clear yet evocative, there is more than one location with very memorable imagery, the author manages to provide poignant details without cluttering the mental image of the player. Mandy's subjective viewpoint adds the pepper and salt to the text.

I imagine that the game's finale might go two ways for any player. There's a convoluted revelatory backstory that seems thrown together after the fact rather than being the result of integrated worldbuilding, and the final problem is silly, to say the least. For me, it was a surprising, almost cathartis moment of hilariousness. Others may be disappointed by it.

You'll have to see for yourself. I very much recommend that you do.

(Yes, there are some small nitpicks. Some obvious verbs were not implemented {EDIT: I have been informed that this has been fixed} and at least one puzzle needed better clueing. Nitpicks that are inconsequential in light of the overall quality of this game.)

He's got a bad case of the hay fevers! Can't even look at stuff without his eyes watering.

Yes, the protagonist of Birmingham IV has a chronic eye-disorder. Every single time he examines something: "Predictably, the Phil's eyes water." His other problem is that throughout the game, he is consistently called "The Phil". I have no problem with third person narrative. It establishes a different kind of player-PC relationship that helps define the feel of a game. However, here it sounds more like the protagonist is a rambling braggart with delusions of grandeur narrating his own exploits. (This is probably not the case, but I found it fun to imagine my PC going about his explorations while describing his every move.)

This rambling-about-his-own-exploits protagonist is actually perfectly in line with my biggest gripe about the game: What the FULLGRU am I doing here?!

Apparently The Phil has woken up in a fantasy-dreamland (trolls & dwarves elves & all). He starts wandering around poking everything he comes across and taking whatever he sees. Out of pure curiosity he seeks out puzzles to solve but it is never clear what his goal actually is. Halfway through the game, a proper endgoal crystallizes: clear up the mess he has caused by thoughtlessly (some might say ruthlessly) tackling obstacles for no apparent reason.

The land the Phil is roaming is nicely described. There are (on my map) five distinct regions that all lie along a long E-W road. So that's good for visualizing the geography. Unfortunately, due to an inventory limit and some less-than-practical puzzle layout (1980s oldschool style and all that...) you will travel this road until you can dream it and then some more.

The puzzles you encounter range from "Great!" ((Spoiler - click to show)laying out breadcrumbs for the puddytat...) to "Huh?" ((Spoiler - click to show)lighting the lamp...) to "Jeeves! Get-me-my-walkthrough!" ((Spoiler - click to show)a not-cool-not-clever maze that is only justified because everybody knows that Elves are obnoxious tricksters seeking to confobble people at every turn.)

The writing is good. I really enjoyed the descriptions of the Elven Mound and the Plains by the River. There is a lot of humour in the responses too, and there are tons of unnecessary but funny stuff to try (including dying in many ways) (Oh, that reminds me... About those puzzles: Learn by dying. A lot.)
But despite the funny and overall good writing, the lack of an overarching goal or quest made it all feel a bit too light and unimportant to me.

So: a nice big game, lots of laughs without any (heart)strings attached.
Worth playing.

First off, some tech-stuff: This game is, hands-down, the most deeply implemented piece of Interactive Fiction I have ever played or heard of. Along with that, it also provides an amazing freedom of experimentation. This is no sandbox, this is dune after dune.

The puzzles are,partly because of the aforementioned freedom, not hard. They are sensible and great fun. Choose your own logical approach and try it. Many different solutions will work, and those that don't will not work for a reason. Very rewarding.

The story is very much for the player to fill in. Lady Short gives you the backbone elements of a story of personal growth and inner realization, up to you to interpret it. The many different endings also give you many possible interpretations.

The writing is crisp and clear, giving Metamorphoses that dreamlike quality. The descriptions are detailed enough to be practical, without excess decoration. Exactly because of the sparse descriptions, the imagination has ample room to dream up it's own version of your surroundings.

Maybe the biggest puzzle here is the quest for completeness.A reverse read-the-author's-mind problem. When playing (and replaying) ask yourself, "What has Emily Short NOT thought of?"

Very, very good game.

A man swoops down onto a flying pirate ship. He fights off the entire crew singlehandedly, retrieves the stolen briefcase and is off to his next mission.

A woman infiltrates a high-security underground bunker. Through the cunning use of a coffeemaid's uniform, she thwarts the entire assembly of scheming supervillains. She is called in for a briefing on her next mission.

In two short railroaded scenes, we meet our heroes:
-Max Blaster: An action hero, larger than life, with hairdo and ego as big as his muscles.
-Doris deLightning: A stealthy spy, relying on brains over brawn.

Meanwhile,The Venusian Parrot Overlord prepares to conquer Earth. Max and Doris will have to join forces to stop him.

Max Blaster and Doris deLightning Against the Parrot Creatures of Venus is a hilariously over the top action-comedy. It parodies 1950s scifi clichés and any other clichés that may cross its path. The (anti)chemistry between the protagonists is one of these. If they were bottles in a highschool science classroom, they would be labeled "Do Not Mix" in big red letters. Needless to say, snappy conversations full of funny one-liners are the result of them working together, as well as a growing affection for each other...

After the introduction, the player is asked to choose Doris or Max as the player character. Since they have different styles of approaching obstacles and a different set of equipment that fits their styles, and since they will be separated a few times during the mission, the player will experience a different path through the game depending on this choice.
I played as Doris, so this review will be necessarily incomplete and biased towards Doris' skills. (And against that blastery blowhard who just wants to rush every obstacle head-on!)
When Doris and Max are together in the same room, the player can SWITCH TO the other character to tackle a puzzle from a different angle. However, I believe it is possible to complete the game without ever doing so. I encountered one timed puzzle where I switched, but in hindsight I realize that I probably had enough turns to do it in-character.

There's no leisurely exploring the map in the first half of this game. It starts of at a fast pace and doesn't slow down until the very end. Many times, you will be automatically moved to a new area after a scene. Only once you've penetrated the headquarters are you granted a small bit of freedom to look around. Even then, your space is limited to the few rooms immediately connected to the next obstacle.
Small, simple but clever puzzles help to heighten the tension and emphasize the urgency of the mission. Often, the solution relies on noticing a small detail in your surroundings and realizing its importance.

Just before the endgame, Doris and Max need to split up and tackle a different obstacle. The player needs to choose which problem to solve. On the path I chose, I encountered a glorious multi-step problem with a variety of machines to fiddle with. Anyone who has played Metamorphoses or Savoir Faire will recognize the vintage Emily Short-style devices.

Throughout the entire game, I had the impression of a very "full" game-world. Partly, this is because there are so many objects to examine (and take with you) and devices to experiment with. Another reason is that there are constantly things happening around you: the status of the evil plan is announced through speakers, guards are flying up and down and you get updates when Max (or Doris) has achieved a sub-goal when you are separated.

In such a well-written and smoothly playing game, it was very odd to encounter a very weird bug: on two occasions (once when I switched to Max and once at the very end), the parser prompt simply disappeared. I could still type and enter commands, but they showed up right at the end of the previous paragraph and in the same font as the descriptive text. Not a problem for continuing the game, but very disconcerting at first. I was surprised at how much the standard layout of bold commands followed by smaller descriptions was a visual handhold for me.

A hilarious action-packed parody game with an impressively intricate puzzle-engine under the hood.

While walking home after doing an errand in town, little Gretchen is blown off the path by a sudden snowstorm. She finds herself in a wondrous snowy land under a pale wintery moon.

Winter Wonderland is a heartwarming text-adventure. The wonder and amazement at the beautiful fairytale land is played completely straight, without ironic winks or nudges. It's clear that the author has gone to great lengths to envelop the player in a sincere and heartfelt warm and joyful experience.

The immersion in the story and the game-world is achieved in a few ways.
The implementation goes deep enough that you can examine and interact with most pieces of the surroundings, many giving an extra immersive dimension to the already evocative descriptions.
You will meet many fantastic creatures, all enjoying the winter solstice in their own festive manner. All of them will smile and acknowledge you when you greet them. You can strike up a conversation with a good deal of them.
The map is easily visualized, with the dense forest where little Gretchen appeared to the south and the snow-capped mountains so far to the north that they appear as unreachable bluish shapes far to the north. Still, there are enough little sidepaths and bottlenecks to keep it interesting.

Allthough the puzzles are mostly friendly and easy, fetching an object for an NPC to exchange it for the next item. Most of these puzzles do have an intermediary step that is not so obvious, making solving them satisfying. Two puzzles jumped out as being especially nifty, requiring a bit of thinking around the corner. These raised my appreciation for the puzzles and the game as a whole.

A very smooth, warm and friendly playing-experience. Perhaps best enjoyed with a steaming mug of cocoa and a snuggle-blanket.

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!