Reviews by Rovarsson

That's how the great Sherlock Holmes impatiently welcomes you back to London when you restore a saved game. This and other dry or witty remarks make sure that you never forget Holmes' presence, even though it is you, Watson, who is in the driving seat in this investigation.

Sherlock - The Riddle of the Crown Jewels is a fantastic Infocom mystery. In the beginning of the game Holmes senses that his adversary is very cunning and has studied his, Holmes', methods. Therefore, he puts you, Watson, in the lead. With the great detective breathing down your neck and occasionally making snarky remarks, the two of you explore London in search of clues as to whom might have stolen the Crown Jewels from the Tower of London.

The setting, London in the late 19th century, is magnificently rendered. Foggy streets, dim sunshine if there is any, grand and imposing buildings,... But also a busy market square, avenues full of tourists,... The author uses the fog and the busy streets to make the game world seem much larger than the part of the city that is actually accessible, giving a great sense of freedom to the player. You can roam the streets and go sightseeing as you please...

Were it not for the fact that you are on the clock. You have but two days to solve the theft, or the disappearance of the Crown Jewels will become known to the public and all faith in the monarchy will crumble (yaay!). Being on a timer, together with some well-placed twists in the story gives the story its drive. It creates the tension that makes this a good mystery. However, the trade-off between telling a straightforward story with its natural tension-arc on the one hand, and allowing the player lots of freedom to explore the map and solve the puzzles in his own order on the other hand does get in the way sometimes. If you misunderstand a clue (as I did), then the tension falls flat until you stumble upon the answer. Felt kinda like pushing the motorcar until the engine fired again.

For the most part, the puzzles are fair. Do remember that you are Holmes' assistant in this game, so don't just gather clues but think about them and put them together. In the words of that other famed detective: "You must excercise zee grey cells." I thought one puzzle was underclued, and it being dependent on the time of day, it took me a lot of time to complete.

The NPCs are very well characterized, even though they do not have all that much to say. In a few strokes and a few remarks, the character is there with you.

The descriptions are very strong, bringing the locations to life when you first enter them. The city of London's atmosphere in the fog permeates the game, adding to the tension of your search. The suspense of the overarching story suffers somewhat from the trade-off I mentioned before, but once you get near the endgame and the pieces fall together, the game picks up speed again.

A truly great adventure, a joy to play.

What a fun and engaging game to spend an afternoon with!

The aptly named Spaceship features you as the captain of said spaceship. Your entire crew is on leave and you are enjoying a nice nap when suddenly disaster strikes. A meteor impact!
Now you're all alone on a depressurized and oxygenless spacecraft, left to your wits and some mighty fine McGyvering-skills to get yourself and your ship out of this pickle.

Despite the lifethreatening situation and the oxygen in your hastily donned spacesuit slowly decreasing (the oxygen-meter serves as a very effective timer), Spaceship is consistently funny. Consider this response when you examine your quarters: "Above [the desk] is a porthole, with a stunning view of bugger all." The tension created by this contrast between the emergency of the situation and the humorous narration is just right.

The ship is littered with objects, so you'll quickly have a heap of stuff in your inventory, most of which you will never need. Luckily, the puzzles are well clued and there are some alternative solutions, so juggling the inventory items never becomes a real problem. Actually, I found that some puzzles were overclued, diminishing the whole "alone and left to your wits"-feel of the empty spaceship. The obstacles all have logical solutions, some with a lot of intermediate steps. However, if you cram your inventory with everything you can take on your first exploratory tour of the ship, you should always have everything needed for the puzzle at hand.

A few of the obvious paths to rescue turn out to be red herrings, but they are great puzzles in themselves and they add to your score. So instead of being frustrating or disappointing, they just mean more fun!

I encountered a few unobtrusive bugs (and a huge one that was actually meant to be in the game...), but overall Spaceship played very smoothly, no small feat when you take into account that this game was written by a large group of authors. Kudos for keeping the atmosphere and quality so consistent throughout the game!

To the authors, I'd recommend one last round of editing and testing (cranking the handholding down just a notch in some places, (Spoiler - click to show)Particularly in the Infirmary.).

To anyone else, I heartily recommend playing this game!

I have officially finished my first Infocom game!

And I liked it a lot. Wishbringer brought me a lot of moments of joy and laughter. Once you complete the introductory task, it seems the game-world turns dark and sinister. Once the boot patrol turns up though, it turns out to be whimsical and funny. The little town of Festeron (Witchville in the dark) is full of surprises, secret passages and absurd characters. When I found my way to Misty Island I laughed out loud. Phineas and Ferb is one of my favorite cartoons, and here I saw an island full of Agent Ps...

The puzzles are fun and on the easy side. I would recommend that you look at the official feelies and the original game-booklet before playing though. (Widespread on the web.)

Then why only three stars? Because it's possible to make the game unwinnable when you are at the doorstep of victory by not reading a certain note before it becomes forever inaccesible to you. And because the Magick Stone that this game is supposedly about is hidden without clues, like an inside joke from the makers. And because things like that are extra frustrating in an easy-going whimsical adventure such as this one.

But do play it. It's fun.

Delusions was one of the very first IF-games I played when I first discovered the medium. The puzzles were way over my head back then, but I found the setting and the slowly unfolding plot fascinating. Except exploring rooms and examining objects, I used a walkthrough for the entire game, knowing I would once try again.

And now I have come back to it. Where before I would have given Delusions five stars for its story alone, now I have more experience with IF and I might offer a more nuanced opinion. I will have to be quite vague in this review to not spoil the overall story.

The story remains fantastic. It is a reworking of a tried-and-true science fiction trope, very well told and paced. Each of the three parts of the game sees the plot of self-discovery open up some more to its inevitable conclusion. Story-wise, there are many similarities to Babel. The way the player discovers the story through puzzles is different however.

The puzzles are very reminiscent of some mini-games in Gateway. You have to build a good understanding of your surroundings and the available objects to figure out a sequence of actions that brings about the desired effect. This will undoubtedly take some experimenting, failing and retrying. You can of course rely on saved games for this, but the game always brings you back to a fixed starting point to begin anew. (In the middle game at least. The endgame is not so friendly.) It is vital to play through the introductory puzzle attentively, because it is an easier version of the puzzle in the middlegame.

For the map-drawers and world-explorers there is not so much here. However, the setting is exquisitely suited to the plot, it adds to the trapped feeling and the big puzzle is designed to fit snugly in these few rooms.

Unfortunately, being more experienced I could also recognize more flaws. The unfolding of the plot relies on examining the same objects multiple times over the course of the game, to see how they change, or, more accurately, how your perception of them changes. Sometimes an object gives a default "not interesting"-response while you should still examine it later. One crucial action demands a non-intuitive (to me) command, making it a very frustrating guess-the-verb problem: (Spoiler - click to show)TAKE object WITH TONGS does not work, you have to PUT object IN TONGS. I also found a game-breaking bug: (Spoiler - click to show)do not SET WATCH TO [time]. It breaks of the playing session immediately. Just SET WATCH wil do nicely.

So, I am not so awestruck as the first time I played through Delusions, but it is still a very clever and well-written game. Highly recommended.

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 of all: A Beauty Cold and Austere is extremely well coded and implemented. Every action I tried that had even the slightest relevance to the problem at hand was understood. The parser understands tons of synonyms and guesses accurately what you want to do from differently formulated commands. This is a joy in every adventure, but it is doubly so in a game like this. There is a lot of precise fiddling of switches and turning of dials here, and any less near-perfect implementation would have made this a hell of frustration.

The puzzles here are logic and fair (duh). The author has put in a lot of effort to guide the player to understanding why the solutions work. I daresay that I have learned a (vague) thing or two about calculus.

The game truly shines in its visualization of abstract mathematical concepts and problems. An algebra problem made concrete with balancing scales is something one could find in an oldschool text adventure. Making an infinite converging series tangible or visible is harder. And programming, nay, creating a working machine in the game that lets you manipulate such series at will is just a heavenly present to any IF-tinkerer.

The writing is very good. Well-described locations, the occasional joke (well, a bit more than occasional, but it stays within bounds...), good NPCs. On the larger scale, it's harder to say:

Like The Chinese Room, a game that explores some basic concepts of philosophy, A Beauty Cold and Austere explores many mathematical concepts. And, like The Chinese Room, A Beauty Cold and Austere does not have much of a story beyond that.

It makes up for this though. Instead of a story-structure, we get an ever-widening understanding of mathematical concepts and how they are linked to eachother. And this widening understanding is beautifully reflected in the way the gamespace evolves. The map itself expands and deepens with your mathematical discoveries (or inventions, depending on your philosophical standpoint). You also have the backbone of math's history and many of the great minds in it to give the game a recognizable structure.

I like this game a lot.

My first IF in French. (I'm not counting Les Heures du Vent because it was unfinished and I quit.) I can read French quite well, but it took some time (and some help from online dictionaries) to figure out the commands.

Catapole is very, very well written. You play as a chimneysweep in a huge underground complex, where workers live and work their entire lives to support the wealthy who still live on the surface. This underground atmosphere, the stillness of the air, the soot,... is made tangible by the writing. It is also reflected by the PC, with his mood, his views on life underground. Not really unhappy, but aware that there is much of the world that lies beyond his grasp.

Because of this surrender to the status quo, he becomes the target of a murder attempt by revolutionaries who want to shake the public into a revolt against their living conditions. Up to you, the player, to find the way to survive this attempt and choose a way of life for your PC.

These are deep themes, thought-provoking and worth contemplating. Unfortunately, the game does not do them justice.
However well-written, Catapole is too short to get in-charachter, too on-rails to understand the life underground, too confined to get a grasp of the relation of your PC to his world and to the people he lives with.
The same is true for the motives and the actions of the revolutionaries.

There's just not enough immersion in the grand overarching story to understand the main character and to make a valid choice at the end.

Still, Catapole is well worth a playthrough for the exquisite writing, and to let yourself wonder about the options.

I really liked the premise of this game: a young Storyteller asked by the local mage to find an especially evocative children's storybook.

I had wandered around the entire accessible map, enjoying the superb location descriptions. Maybe French is a better language for poetic ways of saying how a town square surrounded with linden-trees looks like? (Yes, the game is in French.) After a while though, I started noticing a particularly large amount of objects where the response to X was "You see nothing special about..." (translated of course.)

A better look at the title page and info showed that this is "un aventure en devenir." "An adventure in progress" that is. So I stopped. This version is from 2007, so I doubt the finished story will ever be published. Too bad, the descriptions are really good.

(I do keep wondering how this piece got 1st place in FrenchComp. Maybe because it's probably possible to play to the end, just very underimplemented?)

The past ten days I have been playing Gateway. The moment I heard the electronic music and saw the first screen of the introduction, I was whisked back to the early '90s. I felt the same anticipation as when I had just put a new cartridge in my Nintendo-console and watched the pictures with the background story. Good stuff. Of course, Gateway is a text adventure, and I don't remember playing any of those on my SNES.

This is the first graphic/text game I have completed. The intro-pictures were great. Very beautiful pixel art. But this wouldn't be the first piece of art/craft/entertainment to blow the player/spectator/beholder's mind with an intense blast to the senses and emotions to cover up mediocre content. I was still apprehensive about if and how both inputs, picture and text, would work together in my mind.

Pretty good, it turns out. The default setting is an impossibly cluttered screen with a little picture in the top right, a little text window bottom right, and a list of every possible verb and every possible noun on the left half of the screen. Apparently, you could play this game like a point'n'clickety robot by mindlessly clicking every possible verb-noun combination.
But,...you have options. There is also the hardcore text-only option, for those who dislike pretty pictures and still think Bob Dylan should never have picked up an electric guitar.
Me, I settled on the half'n'half option: pictures and windrose on top, screenwide text below. Very handy. The pictures really add to the sparse descriptions, the compass shows exits at a single glance. What I especially liked was that clicking the pictures doubles as an X-command. So I could enter a new location and just click around instead of typing X everything. I noticed a few objects this way that I had overlooked in the text. Also, when thoroughly exploring a location or when trying out my entire inventory on a puzzle, I find myself hitting L or I every five or six turns. Here, I could just replace the picture with the room description or my inventory list. I used this a lot.

As I said, the pictures add a lot to the sparse descriptions. And the help is more than welcome. The writing isn't bad, but I wouldn't say it's got any real literary qualities, like some other games that excel in two-sentence gems to grasp the feel of a room (Metamorphoses comes to mind...). But this criticism is about the small-scale writing. Gateway does excel at the big-picture writing: plot, pacing, overall structure...

In Chapter One, you have won the lottery and go to an enormous space station built by an ancient alien civilization, the Heechee. There, you will be trained as a pilot and get the chance to go find alien artefacts all over the galaxy. You will be payed a handsome sum for everything you bring back. The puzzles here are good, nothing too hard. They are important in setting you up for some harder puzzles in the later portions of the game. You can actually solve all of the puzzles on the space station on your very first evening there. Should you not do so, then know that at some point in the game you will have to re-explore the entire station. My biggest gripe about this first chapter is that it feels too small. You are supposedly on a huge alien satellite, but the writing does not succeed in bringing across that feeling. This is not about the number of accessible rooms, but about the very confined boundaries of the playing area. It would have helped to hint at other areas of this great space station while prohibiting the PC from ever entering there. (Turbolifts that go higher than the accessible three decks to regions where the PC does not have clearance come to mind.)
The boundaries of the storyworld on the other hand are very wide. There are some devices in the game that give you the news from earth, tell you about the history of the station, and even show personal messages from other prospectors (looking for a drinking companion or a date...). This makes you feel in touch with a much bigger society.
Also in this chapter you go on the first few missions to other planets. Nothing noteworthy though, just a teeny tiny taste of what's to come.

What does come next in Chapter Two is amazing. You visit four alien worlds to carry out a very specific mission. Each of these worlds is one single puzzle, contained within a handful of locations. Two puzzles in particular ((Spoiler - click to show)the spider-anemones-octopus-snake sequence on planet 2 and the Sasquatch on planet 3) were beautiful in their logic and simplicity.
Each of these worlds is also a magnificent new ecosystem, making one wonder about what the rest of the planet would look like. Here, the small size of the map does not impinge on the feeling of a bigger world at all.

Of course, just when you think you have completed your four-part mission, it turns out there is a fifth obstacle to be overcome. The three related problems in Chapter Three hearken back to your trainee days when you had just arrived at the space station. If you payed attention at the beginning of the game, you should grasp the principles of the solutions immediately, if not the practical execution. The idea behind these final puzzles is a classic and very well played SciFi trope. Unfortunately, one of the puzzles also involves "Paradise as seen through the eyes of a hormone-overdosed, raised-on-misogynistic-movies fifteen-year-old boy". No matter how good you may find the puzzle, this part is bad. Really bad.

That's really a shame, and the fact that it comes right before the end of the game doesn't help. For me at least, it tainted the final WIN-sensation.

If I excise that bit from my memories with my imaginary memory-scalpel though, I'm left with the experience of an overwhelmingly good game. Very entertaining, very emotionally engaging at times ((Spoiler - click to show)the Sasquatch again). It may be linear, "on rails" as they say, but it's one heck of a rollercoaster ride.

Must play, if you can stomach that bit-that-will-not-be-mentioned-again.


Finally, I'd like to come back to my favorite puzzle of Gateway.
I have read several reviews and interviews where Emily Short talks about the complicity of the player in commanding the PC, especially when immoral actions are needed to advance the game. She comments that through the years, it has become more of an emotional burden for her to just do whatever it takes as an adventurer to get the proverbial Magic Crystal.
In my years as an adventurer, I have happily stolen stuff, sedated and drugged NPCs, broken all kinds of furniture or laws. I have even killed a good number of guards that happened to be in my way. All without a moral hiccup.
When I first came across (Spoiler - click to show)the Sasquatch however, I found myself very emotionally involved. From the start, I hoped I wouldn't have to harm it. In the end, I did have to treat it in a way that I wasn't comfortable with (although it was not unbearable), and it was a very powerful experience to find myself caring so much about what would happen to this creature. This is where IF done right can truly shine, through shared responsibility between the player and the character.
(Actually, come to think of it, something similar happened when I played LASH, but that game had a twisted player/PC relation at its core that was aimed at just this strange complicity. Gateway is a more traditional adventure in this respect.)

A classic well worth playing (again).

I stand in awe. This game is so good...

Top fighter pilot during the past war, you now find yourself accompanying the Ambassador on a tourist trip to a place he slashed into submission from orbit just twenty years ago, while you were down there on a mission of your own. A heavy storm forces you to push him into his spaceship to take him to safety, leaving you alone and stranded on the surface with your storm-damaged plane. You might be able to fix it should you find your multi-purpose tool that you lent to the Ambassador. Maybe he dropped it somewhere during his escape?

As you search the area, you get re-acquanted with the strange towers that stand on the points of a great triangular field, and the massive Ziggurat that stands in the middle. Soon, driven by memories and an only half-understood inner urge, you find yourself unraveling the mysteries of these perplexing structures.

Inevitable takes place on a smallish map, readily memorized and easily accesible. You can oversee much of the area from several locations, making it feel bigger while at the same time tying it together into one big site. The descriptions are evocative while not overloading your brain with too much information.

Actually, the writing overall is extremely good. When exploring the different towers and examining scenery and objects, the text is efficient and to the point, almost cold in places. However, entering certain locations or finding certain objects brings back memories of your last time here, memories you would have rather forgotten. When remembering these, the writing becomes softer, even hesitant.

At its core, Inevitable is a puzzle game. It is actually one big puzzle with tightly interconnected sub-puzzles. Once you understand the overarching problem, the nature of the towers and the Ziggurat, the function of the sub-puzzles becomes clear. (Not their solutions however...) In this way, instead of other IF-games, Inevitable reminded me most of two point-and-click games I bashed my head against in the early 2000s: Chasm and Archipelago. (Ring a bell, anyone?)
The solutions to the obstacles are all logical, which does not make them any easier. I certainly needed some nudges along the way. (Thanks!)

The coding and implementation is top notch. Wrong attempts get helpful replies. You can GO TO locations if you don't want to traverse the entire map. The game starts in Default mode, but you can type EASIER or HARDER at the start of the game, depending on how masochistic you are.

What lifts Inevitable head-and-shoulders above other hard and smart and clever puzzlers is the dramatic backstory revealed in the memories. I felt strongly sympathetic towards the protagonist (I imagine it to be a woman, although the game doesn't say either way.) when she was reliving the final moments of the war through short but heartwrenching flashes of memory.

Extremely good game.