Reviews by Rovarsson

"♫♪♫...tum te dum te dum... ♪♫♪"

While you're waiting for this airlock to cycle open, you take a look at your task-list. "Repair microwave oven. Fix cabinet door." Should be an easy job, getting this crew's living quarters in order before going home. The crew are all in the space station, so you can take all the time you want, you've got this starship all to yourself.

For no reason but my own imagination I thought of the PC in Crash as a middle-aged guy with a two-day stubble and a cigar butt stuck behind his ear, doing this one last job before going home for the night and watching a far-future version of Jeopardy.

Of course, before you've set more than a few steps inside the SS Ugati, all hell breaks loose. The space station explodes behind you, propelling the ship you're on into open space. Darn! Looks like your task-list just got a bit bigger.

A few questions to the ship's computer quickly reveal a backstory of a system-wide rebellion, rivalling factions and opposing planets/moons. I really like this plot dynamic, a normal guy unwillingly thrust into circumstances with far-reaching consequences and no choice but to rise to the challenge.

The protagonist is weakly characterized, making it easy for the player to project herself onto the role or to invent a character of her own liking (the stubbled cigarsmoking guy I mentioned above...)

The build-up of tension is very well-paced, several times raising the stakes and increasing the urgency of the situation. The puzzles follow this arc of tension nicely, with a few simple preliminary obstacles leading up to two more complicated and challenging endgame problems.

All the puzzles are of a mechanical/physical/chemical nature, requiring obtaining and studying information (the ship's computer), and implementing cause-and-effect relations, all the while taking into account the fact that you are in a spaceship.

There is a lot of optional material for those with completionist/optimalizationist tendencies, although doing menial chores while your damaged vessel is hurtling through space does strain the suspenders of disbelief somewhat...

About midgame two NPCs come into play (albeit never personally, you can only talk to them on the comms.) Both are well-defined, they have a definite personal voice. The transition to the endgame requires you to put your trust in one of them. A frustrating dilemma with limited background information, adding to the tension of an already distressing situation.

There is much satisfaction to be found in figuring out the two main puzzles by yourself, perhaps with a nudge from the step-by-step hint system. Do give them a chance before running to the walkthrough.

Great puzzles against a strong but elegantly downplayed backstory.

This is very good.

You should think your parents would be proud of your advancements in rocket science and pyrotechnics, what with all the effort you put into your experiments. Ok, a tad more forethought might have left the now-wrecked shed in the backyard standing, but still...
But no! They decided to send you on a punishment mining mission to teach you some responsibility...

For all the whimsical slapstick style of the introduction, Grounded in Space quickly turns into a more serious space-faring mission. En route to the family asteroid mining claim, the game allows you ample time to familiarize yourself with the ship's functions. And you'll need it.

After a first mining puzzle where you figure out the (well clued) sequence of commands needed to operate the ship's heavy equipment, the story twists around and turns into a rescue mission. There are multiple possible endings, all more or less intuitive once you use your imagination and think about what a young bright lad on a massive mining spaceship has at hand.

The development of the story through its escalating levels of engagement works nicely. The narrative timing draws the player in while increasing the tension, but still leaves enough room for experimenting, exploring the ship's interior and its equipment.

There is one geometric/logic puzzle that completely baffled me. The game attempts to aid you in visualizing it with a rudimentary grid and detailed description, but without actually seeing the results of my interventions I could not get a grip on it. (There's a walkthrough by the author on the IFDB site.)

The endings were perhaps a bit predictable, but the satisfaction of finding that last move to save the day (at least partly, with more or less collateral damage depending on your chosen tactic) more than makes up for this.

A great SF game with good narrative development.

(warning: while I do not spoil any specific puzzles, this review talks about the underlying weirdness, for lack of a better word, of the game)

The start of this game threw me into a wholly unexpected situation. From the (quickly skimmed) blurb I had taken away that Rover's Day Out would be a space adventure of sorts. Instead I got dropped in a fairly generic "my crappy apartment" intro. Complete with an annoying alarm clock waking me up!

That is... Until I started noticing things...

Most obviously, who are those people talking about me as if I were in another room. Am I? I sure can't seem to talk to them or interact with them in any way.

And... What's happening with the status bar? I'm used to glancing up there for confirmation of which room I'm in. This is different though... Some kind of technobabble straight from Enterprise's ship's computer. It's responding to the boring around-the-house chores I'm doing though...

Wait... There are those voices again, talking about me in the bathroom. One's being a prude about looking at me. But no-one's here...

And then the whole thing collapses when I tried to turn on the dryer.

Rover's Day Out is a 2009 game. It feels older though. This kind of confusing layering of player/PC personas reminds me a lot of the turn of the century experiments with the specifics of the IF medium.

The author uses the an AI-simulation to create a rift between the PC's perception, which consists of a recreation of the morning ritual of one of the designers, and the engineers/designers who judge the AI's performance from outside, in the real world.
During the game, the player shifts somewhere between these levels of perception and knowledge. From being confronted with a domestic breakfast situation, I quickly latched on to the simulation context through cues from the game. My knowledge becomes greater than that of my PC. The commands I give still need to be approriate in the PC's perceived reality however. This produces an alienating feeling of both inhabiting the PC and hovering above it. When the simulation-protocols are partially lifted during the endgame, this alienation is enhanced by an even greater disconnect between PC-perception and valid commands.

The fact that I, the player, am able to overhear the engineers talking about my, the PC's, performance broadens the gap even more, even while I'm consciously striving to bridge that gap and stay connected with my PC.

There are a few points where the partial overlap between player and PC is less than perfectly recognized in the game's responses, and sometimes I had a hard time discerning just what level of reality the description I was reading was about. Once I fully grokked the one-on-one relation between simulated and real objects though, the puzzles clicked quite easily and elegantly.

Confusing in a very good way. Must play.

When I saw Space Oddysey 2001 for the first time (and the times after that, now I come to think of it...) HAL scared the brains out of me. The calm, collected voice-pattern, the ruthless efficiency, the cold determination...

Nah, I like his sister a lot more. Ok, she sounds at least as disturbing as her big brother, but at least I can picture myself having a fun night on the town with her.

(For no reason other than my own imagination, I perceived SOLIS as female.)

SOLIS welcomes you as you stumble onto her decks, on the run for the space police because... Well, you're a thief. Plain and simple. And your FTL-jump thingamajig had a small hiccup so you ended up here with a lonely AI in an abandoned spaceship.

Contrary to HAL, SOLIS does have a distinctly, erm... outgoing personality. In fact, sometimes she sounds like her personality is a bit too much for her to handle. Like it's growing out of her circuits, fizzing and crackling...

The more I engaged with SOLIS, the more it became clear that there were hidden depths underneath her humorous façade. As if she was using robotic indifference, AI-superiority and sarcasm as a shield from the utter desolation of her situation and from traumatic aspects within herself.
SOLIS is easily one of my dearest NPCs ever. Conversing with her, getting to know her was a great joy.

In comparison, the PC comes close to an empty shell at first. Sure, we get a bit of background to establish we're a thief but not a nasty one, but for the rest, the protagonist is a mask for the player. During the course of the game however, and especially through communicating with SOLIS, the player has ample choice to characterize the PC. I personally went for friendly pitbull (be nice if possible but bite down on any questions the NPC seems reluctant to talk about).

In fact, the entire game is well suited to this sort of featureless protagonist. At its core,A Long Way to the Nearest Star is a very old school adventure. Find codes and tools to solve clever puzzles and unlock previously inaccessible regions of the spaceship. While the obstacles are mostly engaging enough to make this fun in its own right, the gradually unveiling of the backstory is the real reward.

Pretty standard for an old school text adventure. But it's implemented in Twine. The biggest consequence of this is that the level of interaction with the game-world is slightly higher order, less hands-on. Compared to a parser, the player has not nearly as much freedom to juggle the inventory and throw every imaginable verb at the poor objects. Instead of a compass, there are room-connections in unspecified directions. This didn't keep me from drawing a map.

Still, even though the player is clicking to advance through the game, the focus is very much on which actions to undertake, as opposed to navigating a branching narrative space. The choice format makes the conversations flow naturally. Many options differ only in tone, serving to characterize the protagonist. There are choices that can significantly influence SOLIS attitude and behaviour too. These, together with some PC actions during the game can lead to diverse endings.

I liked how the UI, with its boxed and highlighted options, mirrored my mental image of the screens and terminals the protagonist is confronted with throughout the game. For those who might find this too intrusive, the style is customizable in the gear-menu.

A polished and exciting science fiction game. Recommended.

Some SF short stories can leave you numb and exhilarated at the same time as the repercussions of the twenty- or thirty-something pages you just read reverberate in your head. I'll just namedrop the first three that pop into my reverberating head to show off a bit: Hawksbill Station by Robert Silverberg, Nightfall by Isaac Asimoc, Second Variety by Philip K. Dick.

Now stop to think for a moment. I can't be sure about anyone else, but I must have read hundreds of SF short stories that were less awe-inspiring, brain-shaking or mind-shattering. Less memorable each on its own perhaps, but all of them added up to a pile of more vague or diluted memories of enjoyable evenings and chilling nights and exciting afternoons spent with my nose in this or that SF-collection. Taken together, those less memorable stories have undeniably given me many more pleasant hours than the aforementioned three and their likes.

Bane of the Builders falls squarely in that second category.

It's a competently written and coded adventure. An engaging, if not very original, storyline.

It has a very cool trick where the surroundings shimmer and then things change all around you. (Reminiscent of a glitch in that movie that couldn't decide if it wanted to do magical kung-fu or just shoot everything to smithereens and then proceeded to do both... Not that anything like that happens in Bane of the Builders after the shimmer effect, but... I just got carried a way a bit there, okay.)

I had fun finding my way through the maze. The map is easily visualized, the impression of the alien base hanging in an underground cavern still lingers in my imagination.

The puzzles are not clued well enough, but persistence pays off (or the walkthrough, if you just want to experience the story.)

The end game is challenging but also a bit underclued. I had to fill in some blanks with my own imagination to get a coherent picture of why things did or didn't work.

But, all in all, a well crafted game and a well told story. One to put on the slowly growing pile of enjoyable afternoons playing a SF game while it rained outside.

"You can't judge a book by its cover."

Yes, you can. I judge books by their covers all the time. And by the size and type of font, the colour of the ink, the amount of whitespace on the page, the texture and smell of the paper, the illustrations if there are any, and any number of sensory details that influence my feeling about a book.

I wasn't able to ascertain the smell nor the texture of Harmonia's pages, but I found it an aesthetically pleasing work in all the other areas.

It has few but beautiful graphics that look like charcoal or leadpen drawings which complement the "old" feeling of the game perfectly.

Specific to the beauty of a mouseclick-driven text, the new paragraphs fade fluently into view, giving the eye half a blink's time to adjust and expect the coming words just before being able to legibly pick them out.
Perhaps my faux-tactile experience would have been even better if my cursor arrow were the nib of a quill pen, or the relaxed finger of a hand following the lines. Small nitpick, to be sure.

But of course, the saying has a point. No matter how prettily clothed and wrapped, the story must stand on its own when abstracted from all these adornments.

Harmonia surely can stand on its own. It is a SF steampunk time travel story looking back to the past. It makes excellent use of foreshadowing to heighten the suspense throughout, and adds a small twist in the end. The main character is a clearly drawn young woman with a strong voice. To talk more about the content of Harmonia would be to tell too much. Let the reader do the reading.

I do want to speak of the craft the author shows. It is considerable, especially in its pacing. As I was reading the first paragraph, I pressed "restart" after only a short while, having been tickled by the text. I sat down properly, took a deep breath and settled into a slow and focused mode of reading.
It's a treat to let the languid, comfortable sentences come over you at their own tempo; they have a musical rhythm that invites mumbling along or even reading aloud.

I should also like to dwell a short while on the form the author adopts in writing this story. In keeping with its inspirations, the late 19th century Utopians, Harmonia reads as a first person account of supposedly real events. In the principal narrative line, several other sources are found, read and discussed. Each of these in turn takes the form of an eyewitness account or a journal entry. Again, first person singular. These accounts are commented upon and annotated by other characters, or in the case of the main line, by the main character herself. The effect is that of a nesting or layering of first persons in dialogue, creating an intricate web of story threads.

Now, all of the above could as easily have been said about an ordinary, "static", work of fiction. Wherein then lies Harmonia' interactivity?

For one, it has choices. At my leisurely but concentrated pace, it took about two hours to complete one reading. In this time, I encountered but a handful of defining choices. (Beware, reader, for these are not accompanied by bells and whistles. Pause before you press.) As is my habit with these choice-based games, I only played it once through. I therefore cannot tell how far the other paths may diverge from the one I travelled.

Far more importantly in my impression were the annotations in the main text that come into view as mere scribbles in the margin upon a press of salient words. Because they are not present at the first viewing of the page before the reader, but only become apparent as one actively presses, it feels as though the character scribbling the annotation is reading along, and, at the click of a word, whispers side-thoughts and elaborations as one moves a finger along the lines.

This technique invites a deep engagement with the text, where the interactivity takes the form of discovering more profound meaning in a joint reading of the story with the characters that feature in said story. A vivid reading experience indeed...

This game written as a first person account contains excerpts of eyewitness novels and scraps of personal journals and annotations in the voices of the characters and whirls around and around... until the game recedes from view and one is truly immersed in the experience.

A superb piece of interactive writing.

This morning's groundbreaking transfer-experiment has failed. Maybe the Machine was miscalibrated, despite all the checks and double-checks. It worked on mice and reptiles, why did it fail with the first human subject?

Transfer is a mystery/detective game that plays in the aftermath of this failed experiment. Instead of providing a clear objective, the game relies on a few more subtle clues to grasp the player's curiosity. Two NPCs act a bit strange. It's left to the player to unravel the thread and find out what's behind all this.

A secret experiment needs a secret location. In this instance, a mostly underground scientific research base on a far-off island. This makes for a small and compact utilitarian map. Labs, sleeping quarters, common eating hall.

However, it's remarkable how much adventurous exploration can be crammed in such a restricted space.

Partly this is due to a few blocked-off passages that draw the player toward opening up these undiscovered spaces. When they do open up, they don't disappoint...

Another big part of the richness of the game comes from the behaviour of the NPCs. They all have their own agendas, and their walking to-and-fro helps bring the research base to life. You need to learn about their work and their routines to figure out how they might be involved in the greater mystery.
Giving the NPCs a measure of personal agency may enhance the lifelike feeling of the facility, but it also creates expectations the game cannot fulfill. It feels grating to break into off-limits areas while someone is standing right there, or showing someone their stolen stuff without it provoking any reaction. Playing Transfer with a straight face sometimes requires wearing quite stretchy suspenders of disbelief.

During the game, there is a lot of plain old exploring and searching and puzzling going on, but all the main plot advances rely on using the Machine. This main puzzle/solution mechanic is implemented in surprising ways. In the first parts of the game, this makes for original and well-thought-through puzzles. By the end however, there is a series of Machine-manipulations that inadvertently lean towards the comical rather than the suspenseful. It's still a good puzzle sequence, but its tone would perhaps fit better with a fantasy-comedy than a science-mystery.

Solving puzzles and finding secrets advances the plot point by point. At the beginning of the new “chapter”, as well as in the introductory sequence, the writing shines. The room descriptions are clear and effective at conveying everythin the player needs while still adding to the atmosphere. It’s in the intermezzos however, in the overheard whispers and in the sudden actions of the NPCs in between acts that the narrative tension and tempo are best brought forward. The quality of the writing was certainly good enough to let me glance over some of the more improbable bits of the story.

The ending may feel disappointingly unrealistic to some. I for one really enjoyed the Poirotesque dénouement where the mystery's solution is summarized and elaborated upon by the villain with all the characters in the room. A fitting moment of closure for a puzzling game.

Heartily recommended whodunwhat and whoiswho against a scientific backdrop.

Alone...

Alone in the deepest, most serious meaning of the word.

Before you a blackness the stars do not penetrate. Around you a galaxy collapsing under its own weight. Behind you an all-consuming, fast-expanding sphere of heat and radiation.

The remains of your exploded home are all that is following you. The supernova is gaining on you.

Andromeda: Apocalypse opens after the catastrophe on your homeworld that was the end of Andromeda: Awakening. There is a certain calm in the desperate knowledge that all is lost, there is no need to frantically try to prove your point to those who need to know. In fact, during this game's reminiscences, it is called into question if anyone even wanted to know...

The map of Apocalypse is very satisfying to explore. A giant derelict alien ship, battered by time, meteors and who knows what else provides the perfect mix of ordered hallways and corridors on the one hand, and clogged, torn, or plain ripped apart tubes and plates on the other. Chaos and recognizable structure in the right proportions.

There are puzzles, and a few of them made me stop and think and check my notes. However, the rhythm of the game thrives on thorough but speedy exploration, on getting pást the obstacles, not snagged up mulling about them.

While staying true to the "catacombs-and-puzzles"-structure of the first game, thematically this game offers more room to philosophical ruminations. In between the explore/action sequences, there are intermezzos of a dreamlike or hallucinatory quality where the protagonist discusses the meaning and importance of being human in contrast to the vastness of time and space. That sounds bloated and arrogant when I inadequately summarize it like this. In-game though, it works. Mostly because these discussions take place in a friendly and familiar setting with the protagonist and his uncle bouncing thoughts and feelings off one another.

By the halfway point of the game, you will meet an NPC whose nature and knowledge will bring this emphasis on the short and limited versus the vast and ungraspable even more to the foreground.

By the endgame, I felt a bit sad for this friendly NPC.

Many intruiging questions and themes touched upon in a setting that could not be more appropriate.

Very good.

(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.

Phew! Someone heard you! When adrift in interplanetary space, chances are slim that anybody would hear your distress signal in time. You received the coordinates, you probably have just enough juice left in the fuel cell. So yeah, very fortunate to be underway to that big... distant... abandoned... space station that is now being pelted with debris... and fired upon by a giant laser from the planet's surface...

Hmmm... Maybe not that fortunate, but you either dock here or die in your broken down spacecraft.

The space station in Deep Space Drifter is a compact and effective puzzle-space. A small number of rooms to explore, each with a clear function. Enough objects lying around to get a notion of the backstory and aid in some nifty puzzles. And there's a robot! The environment is sparsely but adequately described, and every few turns the narrative voice informs you that the station is shaking around you as a result of an explosion or an impact. While these messages help with the sense of being in a larger and quite vulnerable place, they do become repetitive to the point where you just skip them.

I dropped my inventory a lot in this part of the game. And not because I typed DROP a lot. I didn't methodically investigate, so I don't really know if it's a bug, if you lose your inventory each time the station gets hit, or if there are an inordinate amount of actions that implicitly DROP ALL (SIT does this for sure), or a combination of all the above. What I do know is that I often arrived at my destination ready to tackle an obstacle only to find that I was empty-handed. That involved some backtracking.

Since the space station is abandoned and empty, just refueling your own spaceship won't work. So, in the next part, you go down to the planetary surface. The game from this point on is very uneven.
I loved zipping around the underground tunnels in the shuttlecar (yes...) There are two very satisfying puzzles. There are also two very large mazes. And that's a pity. I thought both mazes had a really good concept that was drawn out far into tedium and boredom. I frankly didn't care anymore and went with the walkthrough. The concept could have been kept intact, and the mazes shrunk down into 10 room navigational/timing puzzles that would have been more engaging.

Some good puzzles, some good fun, but ultimately not enough.

After a long period of peace, the United Empire of Imperatrix Emera is experiencing unrest. Riots have broken out on several planets of the outer star systems and the fleet is spread thin to contain the disturbances.

The disappearance of a rare FTL communications and surveillance drone in a system rather closer to the centre of the Empire is suspicious enough to send you on an investigation to the system where it was last deployed. You take control of the newly commissioned FTL ship "Resplendent".

The Voyage of the Resplendent stands out with its picture of a far-future interstellar empire. This is in itself not very original, but there are many details that make it noticeable.
There are hints of a forgotten past civilization of which only the poorly understood FTL technology and an even more foggy religion are remnants.
The political structure is reminiscent of ancient Rome, with the central Imperial star system dictating the overall order and monopolizing economics, while guaranteeing some measure of political sovereignty to the planets under its control.
A medieval nobility hierarchy ensures further complication of the relations of power in the Empire.

In my personal life, I would not agree with the loyal, dutybound servant of the Imperial monarchy that is the protagonist. The story does not provide many options to push against the adherence to hierarchy and orders apart from paying lip service to "trying to understand the disgruntled mobs", and choosing diplomacy over lethal force on a handful of occasions.
However, it speaks volumes to the quality of writing that I could get under the skin of my character quite easily. Once I had understood and accepted the priorities of the protagonist, I was on board to fulfill the mission to the best of my abilities.

The quality of characterization extends to the other characters as well. One important choice early in the game lets you assemble your team of officers. Throughout the game, you talk to them separately on several occasions in different circumstances. Without agreeing with them on every turn, I did feel I could relate to them as realistic people.

On the whole, I got the impression that most of the links where there primarily to give more exposition to the characters' backgrounds during the space-voyage than to have a defining impact on the narrative. Toward the endgame the choices gave the impression of having greater consequences to the outcome. I must say that is the impression I got after a grand total of one playthrough, so I may have missed substantial branching. I don't really believe so though, given that you are returned to the same choice menu after picking an option. For example: if you choose to talk to the Head of Investigations, after the conversation you are returned to the screen where you can still choose to talk to all three other Officers. The story does not continue with your first choice to the exclusion of the other possibilities.

However well-written the story is, it could use a last and thorough once-over. There are quite a few misspelling remaining. Worse, I encountered one dead end where there simply was no link back to the story, forcing me to go back to a saved game and avoid that path on my playthrough.

There are many open questions and loose threads remaining after the game's finale, leading me to suspect that this was meant to be the first installment of a series that didn't make it past the pilot. I would gladly read any sequels, and even without them, this story is well worth the time on its own.

Your rescue-pod crashed. The Ensign is dead. Your Lieutenant is wounded, near comatose. Survive.

The urgency of the situation is pressed upon you immediately. There are no McGuffins, there is no time for distractions and herrings of any colour would not survive in this atmospher.

Your pod has crashed on an unknown planet. Your crewmates are incapacitated. Survive.

This is the immediate urgency Distress puts you in. No promises, no McGuffins. Survive, without even any herrings to eat.

There's a very cramped, dark atmosphere to this game. the contrast between the wide open yet inaccessible desert landscape around your tiny circle of light makes it truly unnerving to leave the initial crash site.

You have a wounded crewmate who needs care and protection, but you know that you have to leave to search rescue.
I was torn by this situation, truly feeling the dilemma as the player. I scuttled around the crash site for many turns and tried to leave everything as safe as I could before venturing out toward...?

All the way along this grim adventure, things keep happening that are outside of your control. When played according to the game's standards (instead of following a walkthrough), this means losing (dying) more than once. I very strongly recommend doing it this way. Each playthrough will give you new information, be it on the background of the mission, or just on the timing of events. It's worth at least one or two playthroughs to get the details on your spacecraft's unexpected detour into this planetary system.

While on this topic: it's also worth taking your time out-of-game to search for the names of your crewmates in an encyclopaedia of your choosing, and then running to the nearest library...

The biggest difficulty with the puzzles is that the entire game is timed. SAVE on important breakthroughs and expect to run through a few times. RESTORE or (preferably) RESTART gives you the peace of mind to experience the story to the fullest. I still recommend that you play the game straight through a few times, regardless of the outcome.

A very immersive scifi thriller.

IF has its fair share of unfinished trilogies and abandoned series.This can be disappointing (or, depending on the quality of the piece, a relief...). Anyhow, it 's a shame to plogger your way through such a work, getting to know the characters and learning the puzzle-saviness you need to end at a brick wall with a sign that says: "No closure to see here. Move along please."

I have found a sure way to avoid the sense of despair that can overwhelm a player's heart when coming across such a piece, whether they notice it during play or beforehand. The player must get into the mindset of the archeologist. He must rejoice at unearthing a rare fragment of text that has survived through the ages to at last land in their hands.

I have unearthed such a magnificent fragment with The Duel That Spanned the Ages. Others have gone before me. I knew from another review that it was an uncomplete adventure, a single chapter of a larger story. Undeterred, I pressed on and found this a true original gem.
(There is an entry in IntroComp 2010 that is set in the same storyline. Since then, all has been quiet about The Duel That Spanned the Ages as far as I know.)

In keeping with the incompleteness of the work, there is a long, mysterious and seemingly disconnected introduction. The game proper puts you in the character of a mercenary on an asteroid in the ass end of space. Soon he is sent on a mission where the rest of his squad is killed and he must fend for himself.

I have never seen an IF-piece that is so chock-full of adrenalin. The player is warned in the ABOUT-text that there are some timed sequences and that it is possible to die. A grave understatement if ever there was one...

Your mercenary finds himself in fast-paced chase scenes and brutal battles. He has to explore an abandoned underground facility while under attack from all sides. If I had tried to explain the game to a friend, they would have wrongly guessed that I had played Doom or one of its offspring.

Despite all this mayhem, the game really tries to be friendly. For example, it allows multiple UNDOs (six in my experience, but the ABOUT-text says this can vary according to interpreter).

The puzzles, while challenging, are not of the endlessly-tinkering-and-experimenting kind. That would hinder the neck-breaking tempo. Still, it takes a good eye, some thorough exploring and some working out the physics of the situation to get at the correct solution. In fact, your mind may be biased toward the wrong kinds of solutions by the action surrounding you, making the puzzles harder.

Fittingly for a fast-paced game such as this, the action takes place on several small straightforward maps. The writing conveys the danger and tension all around. I for one was deep enough into the action that I didn't relax in the knowledge that I had a saved game to fall back on. No, I had to get to that elevator before I ran out of bullets. I was worrying about the damage to my mercenary's body, wondering how long the armour would hold and how long it would take to bleed out.

There are cutscenes where unknown entities talk about our mercenary, wondering if he is up to the greater task. Unfortunately, we will probably never know what task this is or who these entities are.

But do play this piece of an incomplete story. It packs an impressive punch all on its own.

Entering into the world of Andromeda Awakening the player's freedom is purposefully overridden by the urgency of the protagonist's mission. This did not feel like railroading by the author, it genuinely felt like the commands that did not move toward the PC's goal entered into his mind as distractions and were then ignored. This was really helpful in alligning my focus with the protagonist's.

Yes, that road into the city looks inviting, but there are more pressing matters to attend to first. These secret documents must be brought to the attention of the Council first.

It's only when a literal trainwreck spoils the protagonist's goal that protagonist and player are set free in a hellish undergound area, left on the edge of a magma-filled chasm. Every few turns short bits of text remind you that the earth is still settling in the aftermath of the earthquake that demolished the train tracks.

Exploring the map is a great joy. There are not that many locations, but the many hidden passages and the sudden open halls make the game feel very spacious. There is a great balance between the rocky, rubble-filled natural caves and the human(?)-made constructions under the half-molten icy planet crust.

Yes, the half-molten ice crust. The worldbuilding in Andromeda Awakening is sketchy but very evocative. To pull you even deeper into this strange planet's geography and history you are provided with a handheld computer to LOOK UP details about many of the strange devices and constructions you encounter.

The story hints at a much greater and older world than you can experience within the boundaries of this game alone. There are ancient devices, a secret scientific research facility, hints of a thousand-year-old civilisation that came before... The writing succeeds very well at painting a big, almost overwhelming picture.

It does lack clarity in the descriptions of the immediate surroundings. I believe this is partly a conscious decision to make the player experience the same confusion as the protagonist when first seeing these otherworldly sights. Indeed, if you LOOK again, many times the room-description is more condensed and it becomes easier to select the nouns that are actually important to the game.
The other part of the unclear descriptions however is due to the fact that the author is not entirely fluent in English. There are many grating sentences that are hard to parse, and many words that seemed to be picked from a dictionary of synonyms without the necessary feel for nuances in meaning.

As a result of this, I found one of the central puzzles ((Spoiler - click to show)copying the cylinder-pattern onto the soap) very hard to visualize. Because of this, I couldn't figure out what commands to direct at which objects, even though I did feel I knew what had to be done (a look at the walkthrough confirmed this).

Despite this, Andromeda Awakening is impressive in its wide, possibly universe-spanning scope. It can be read as an open-ended story in itself, but I am very curious to see where the author takes it in the sequel.

When a science fiction story makes you think of how the movie Prometheus attempted to tie the Human/Alien mythos together, that says a lot about how ambitious it is. Andromeda Awakening fulfills enough of that ambition to be a great, if not fantastic, scifi-game.

Founder's Mercy is very unclear about its backstory, but there are some hints to be gleaned from a Holy Book left on an altar, some personal memories of the protagonist upon entering locations and examining the surroundings.
You're on a generation ship sent out to the Lagrange 5 parking spot trailing earth in its orbit. (For those interested: Lagrange points are fascinating. The next huge space telescope will also be parked on one of them.) Your ancestors hoped to bring a civilization to fruition on this ship according to their godly laws. It didn't turn out that way and now you're the last one left.

Food and water are getting scarce and the life support machinery is slowly breaking down. Plus, you're yearning for human contact.

Founder's Mercy takes place on a very small map. Too small perhaps to give an accurate impression of the game world. It's only when you have the opportunity to look at the entire ship from a vantage point that you get an impression of how enormous it is.

Since you're on a wheel-shaped spaceship, directions are not the default N,E,S,W, but rather SpinWard, AntiSpinWard, Starboard and Port. This doesn't lead to any confusion however. The map is small, almost straight and circular. You can find whichever location you need by going SpinWard the required number of turns.

Like the backstory, the surroundings are not given a lot of attention. It's clear that the game wants to focus your attention on the puzzles.

The obstacles are quite easy to overcome. There was one that took a little bit of thinking around the corner, but it's mostly find-object-use-object stuff.

A nice and short diversion.

As I was reading the lengthy and funny prologue to Dr. Dumont's P.A.R.T.I. I was quickly drawn into the backstory to this game. Allthough it's a fairly traditional comic/surreal puzzle romp, the fact that the weirdness is explained in-game put the entire experience in a whole other light.

Our protagonist is an accidental guinea pig trying out the newest particle accelerator in the university lab. The A.I. controlling this advanced particle detection machine needs genuine creative input from a human mind to teach it how and where to look for the elusive particle X. In order to get this input, the computer generates a metaphorical world in which the human subject must solve puzzles for the computer to learn from.

With this in the back of my mind, there were many instances where I could relate the superficial silliness of the puzzles and their solutions to my limited layman's knowledge of actual scientifically demonstrated properties of the subatomic world. ((Spoiler - click to show)the golfball, the bubble wand,...)

It's certainly a welcome change from getting lost in a magical realm as an explanation for unbridled silliness. When push comes to shove, that is exactly what this physics-themed adventure is: a stack of bizarre, weird and silly circumstances with their own internal consistence, strung together for the player to test her wits against.

After a bit of just wandering around enjoying the views, I did have some trouble to find an appropriate starting point to the game proper. The map has a spoked hub-structure with each spoke open to exploration from the moment you find the central hub. I assumed that each spoke would be its own self-contained puzzle area, independent of the others until I had gathered everything needed for the endgame. I found out this was a wrong assumption after bashing my head against a timed puzzle in the first spoke I tried. It turns out that although the spokes are freely accessible from the get go, they have to be entered and solved in a particular order to solve the game, each game area building on objects or clues you got in the previous one.

Once this was clear however, I had a very enjoyable time finding my way through the many locations. The puzzles were just right for my skill- and knowledge-level. Most are common sense physics/mechanics puzzles with enough of a twist to keep them from being overly obvious. There is also a tip of the hat to a quite common link between quantum physics and Zen meditation (nature of reality stuff...) that appears in many layman's books about particle physics. Suffice it to say that you have to MEDITATE ON some topics to get the insight needed to find the solution to a puzzle.

The writing is consistently funny, the humour ranging from slapstick to surreal, interspersed with small in-jokes for the subatomically in-the-know. A lot of the comedy comes from the descriptions, behaviour and conversations of the NPCs, who all seem to be the same guy in various transparent disguises.

Gameplay-wise, Dr. Dumont's P.A.R.T.I. is very much a classic puzzle-heavy text adventure. The quirky humour and the quantum-physics background does set it apart from others of its kind.

Not too hard, lots of laughs, lots of fun. Chucklingly recommended.

Really. If there was a blockbuster version of this game starring a young Harrison Ford (or even Nicholas Cage, I've often thought the National Treasure movies were text-adventures in disguise.), I'd be standing in line to get tickets.

Run-down scientist with a time machine! A sinister femme fatale for a nemesis! Aliens mingling in human affairs! World War II!

One of those movies where you get a huge box of popcorn (I don't eat popcorn, but you get the image), set your brain to receive-only mode and just munch away. That could be a great cinematographic experience.
Unfortunately, the only way to get a tiny inkling of this experience in the game Time; All Things Come To An End is to have the walkthrough open and just hammer away at the keyboard.

It does a lot of things right though.

First, there's a ridiculously, comically easy intro-sequence. Really, you are fired when your timetraveling prototype device doesn't work, even after years and years of work. The stacks of notes are on your desk to prove it. And then, oops: (Spoiler - click to show)turns out you forgot to charge the batteries...

So after sorting that out, you decide to give your machine a spin. Whoosh! You are stranded in the future where you stumble upon some sinister conspiracy. With his dying breath, a vaguely familiar man asks for your assistance. Coincidentally, it soon turns out that gettting to the bottom of this conspiracy is also the way to get back to your own timeline.

In a big part of Time; All Things Come To An End, you are being chased by the bad guys. Even in the parts where you are not actively pursued, your nemesis (a delightfully sinister femme fatale) is around somewhere, ready to pounce if you should make a wrong move.

In keeping with this chase-theme, the game plays out on a series of small maps. Your objective is twofold: get the objects or information you need, and escape your pursuers to advance to the next map. This should aid in keeping the game tempo up. There are different modes of transportation between maps, giving a feeling of adventure and real action.

The writing in Time; All Things Come To An End is mostly good. Nice descriptions, well-written (if hardly interactive) dialogue, great cut-scenes (and death-scenes). The author does seem to be under the impression there is some sort of prize to be won for "Most uses of the word 'Evil' in a work of Interactive Fiction." I also think the author got tired near the end. The writing drops noticeably in quality, stock-phrases and clichés start popping up more.

All this could (should) make for a fast-paced chase-game where you feel your pursuers breathe down your neck while you try to figure out each area's puzzle and get to safety in the nick of time.

Alas! Time; All Things Come To An End falls flat in this respect. It fails to tie all the good things together in a fluid, fast-moving game-experience.

Some of you may remember a certain groundbreaking game from the late nineties where you had to move through a very specific sequence of moves to advance. (Spoiler - click to show)Spider and Web. If you deviated too much from this sequence, you failed. But! This particular game was framed in such a way that failing and retrying became an integral part of the experience, adding to the tension and the immersion. It also had the mechanics to back up this fail-and-retry design.

Time; All Things Come To An End is not far removed in time from this game. Here too, the player has to correctly execute a sequence of commands in the right order and , more importantly, in a limited number of turns. However, the only way to eventually get it right is to create tons and tons of save-files and restoring many, many times. These are out-of-game actions, leading to completely non-immersive learn-by-dying gameplay. It would not have been a great leap to add some sort of in-game mechanism to bring the PC back to the start of a challenge, given that the timetravel-premise is already in place.

Lack of time/turns is not the only reason why the player should have numerous save-files on hand. It is exceedingly easy to put the game in an unwinnable state without noticing it until one or more chapters later. Failing to pick up an object, or worse, leaving a seemingly unimportant object behind after a spot of inventory-juggling (yes, there's an inventory limit, at least in the first part of the game) wíll leave you at a dead end many moves later.

Now, after getting savvy to this and accepting that this is just how the game works, I managed to make quite a bit of progress on my own. Playing through a chapter to get the lay of the land and figuring out the death-points, then restoring and doing it right got me a good way into the game. But then the puzzles got in the way. And not in a good way. Many puzzles are extremely obscure, very underclued and with no obvious motivation for the necessary actions. Several times, the key to the solution lay in a location that was wholly unmentioned in any description.

Needless to say that after a few hours of this (this game is big, 2500 moves easy), my motivation waned and I started resorting to the walkthrough more and more.

And here I have to refer back to the beginning of this review: I want to see this movie! The story is great in a suspension-of-disbelief-turned-up-to-eleven kind of way. There are cool twists and turns, great locations in time and space, a real sense of mystery...

It's just not that easily playable as an adventure game.

Despite that, I had a lot of fun, and I recommend playing through it anyhow.

Hopefully, you will never know. Instead, you run indoors and slam the door behind you.

So, you made your way into Dr.Hugo's (yes, doctor hugo in a hugo game called "the hugo clock"...) research facility. Now for the final part of your assignment. Close the portal.

The way The Hugo Clock drops you in the middle of the story adds a meta-puzzle to the conventional puzzles of the game. Why are you here, who is Dr. Hugo, what were you running from at the start of the game?

Frequent intermezzos with two men, one calm and composed, one frantically pacing, enhance the mystery. The men are talking about your progress, doubting if you will be able to finish the task. (These intermezzos are printed in dark red, adding to the sinister atmosphere of these little exchanges.)

The research facility of Dr. Hugo is small but well described,with a definite creepy atmosphere. There is an exhibition of bizarre artefacts and a room full of contorted skeletons of unknown animals. The main puzzle consists of finding out how to operate a strange machine in the lab. Most of the steps needed are traditional adventure fare, finding and deciphering clues and operating the machine accordingly. There is one delightful (and sad) puzzle which requires you to manipulate a cleaner-automaton into handling part of the preparations for you.

How you execute the machine-operating sequence will determine your fate, and perhaps that of the world...

Short. Not too hard, not too easy. Great fun!

[A short bespectacled man runs into the printing press hall. He's frantically waving a crumpled piece of yellowish paper above his head, the static electricity making his hair stand on end.]

-"Where's the boss? Where is the one responsible for reviews? Or better, where is the one who writes all those "Top 100"-lists and those "Best 50"-articles and the Recommended-pages? I need to talk to the one in charge!"

[The boy at the huge black press-machine, his hand still on the big red STOP-button, lifts his cap and scratches his head.]

-"Well sir, I don't know of any boss of the top-lists. I doubt there is such a person. It's all rather more the work of the IF-community as a whole."

-"Now, now, youngun! No need for such foul language! So, I.F. Community, eh? Never heard of him. Or her, for that matter. Strange name, if you ask me.
I suspect Mr. or Mrs. Community is not here? Of course not. Well, you'll have to do. Get your leadtype out, boy, I'll dictate the article. And you make sure this gets on the front page of this Text-Game-gazette or whatever it is you're running here!"

[The boy opens his mouth, trying to clear up the misunderstanding, but the bespectacled man already charges ahead, reading loudly from his crumpled paper.]


T-Zero; A text-adventure for the ages!

A young man wakes up in the dry leaves of the forest floor. Former Librarian and Custodian of the Museum, Count Zero has dismissed him of his duties. He had been snooping around in the vicinity of the restricted areas a little too much lately.
Our protagonist is certain he is on to something however, and he will not give up before he has got to the bottom of it. That his curiosity will lead him through the boundaries of time, he did not expect. Still, courageously he presses onward, determined to set things right.

--"They tirelessly twirl in a circular swirl."--

The writing in T-Zero is exquisite. Poetic, evocative, engaging, the descriptions of locations and actions give the game a rhythm that takes the player from the real and concrete to the dream-like and back without breaking the continuity of the story.
Good writing is indeed of the utmost importance to do justice to this quite intricate story. After the initial exploration of the Museum and its surroundings in the Present, the protagonist gains the means and the knowledge to travel to Past and Future to tweak the outcome of events just so to gain victory over Count Zero's plan to enslave humanity. This involves fiddling with the state of the Past to gain access to puzzle solutions in the Present, which in turn set up the Future for your chance of besting Count Zero, the Time Smith.

To keep up the flow of this excellent writing, the author has opted to leave the exits out of the room description. Instead there is an EXITS-command that will drily list available directions. This command does not take a turn, and I did not mind reflexively typing it as I was mapping the game-area.

The map plays a huge part in the enjoyment of the atmosphere of this game. It is big and readily accessible, except for some well-planned bottlenecks with puzzle-locks to help with the story's pacing and to prevent the story from becoming incomprehensibly befuddling.
Many locations will seem inert at first, having no apparent interactive content or even purpose apart form being an expendable room. Most of these will come into play in the other ages you will visit, becoming an influence that moves through time.

It is a joy to re-explore the map in each era, comparing the different times. The locations and their relations will be subtly different each time, giving a fresh and surprising look at known ground.

While the story and writing of T-Zero are mindboggling in the best sense of the word, some of the puzzles are the opposite.
First: many of the puzzles are standard adventure-fare. They can be obvious or more original, but they stay within the comfortable zone of puzzle-design: the commands necessary to influence the game, the mental picture of possibilities and options to tackle an obstacle.
But then there are the perplexing puzzles. Not because they are difficult in a normal adventuring context, but because they draw on a set of knowledge and inspiration that most IF-players will not access in this context. Some of these puzzles are of the satisfying think-outside-the-box variety. bringing great joy to the player. All of them depend on the player's knowledge of a very English language and popular culture. Joyful as they may be to the player who is in-the-know, in general these are just plain unfair.

Many, if not all, default responses are personalized, most times in a beautifully literate one-sentence gem. In case of an ambiguity between nouns in a command, the game lists all the options in a menu, allowing you to choose the one you meant. Practical, but also evidence of how user-friendly the game desires to be, despite the mindblowing puzzles.
Also very practical are the location-specific hints. They helped me on many occassions with a gentle nudge. On the other hand, there were times when the hints just confirmed I had the right idea, but I still needed a walkthrough to find the proper syntax.

As is to be expected; time plays a very big role in T-Zero. It pervades the entire game. Since time is elapsing and day is followed by night, you can expect some solutions to puzzles also being time-dependent. While most of the time this adds to the anticipation, it can also mean a boring few minutes typing WAIT over and over if you were a few moves late to a specific location and you have to wait an entire day without anything else to do. (This happened to me once, but it was all a result of my own bad timing/planning.)
Tricky: you have to revisit some rooms after your first exploration. Some objects just pop up after a while without there being a reason or an obvious notification from the game about this.

Lastly, I would like to point your attention to the rag man. While he doesn't have much to say, he is a pretty nifty NPC. Without wanting to give too much away, this character teeters constantly on the edge of the game-world and our own. I spent a lot of time musing about the kind of reality he goes to after I type QUIT.

T-Zero is a mindbogglingly good game. Best enjoyed with a walkthrough on the side.


[The short bespectacled man crumples the now sweaty paper in his hands into a ball and throws it in the nearest bin.]

-"You got all that, boy? Make sure it's on this issue's front page, you hear me!? Or else..."

[Before the boy can say anything more, the man leaves the printing hall, contentedly rubbing his hands together. He even hops a little out of joy over a job well done.]

One of the first IFs I ever played. I then thought it was fantastic. Upon replay, with many more games to compare it to, it can still hold its own.

Spatially, it's a small game. A house, a garage and a garden (where the eponymous Glowgrass grows. Beautiful image.) The feel of the game is larger though, thanks to a sort of VR-device you find in the house. The heart of the story, the backstory of the people who once lived in the house is to be found there.

Not much puzzlewise, nothing that a curious mind can't handle without hints. (and one small how-do-I-phrase-this-so-the-game-understands puzzle).

Good moving story, well recommended.

You can usually tell the level of my engagement with a game by looking at my notebook. With all the side notes, colored maps, interjections about the story and hypotheses about puzzles and characters, you could say I dove pretty deep into this one.

Trading Punches is a story about two brothers on a turning point of their civilization's history. The protagonist represents humanity (without other reference points, I default to "human" in SF, especially if they're the "good" guys), his brother ends up representing the Sheeear through marriage with the daughter of their ambassador. The relationship between the brothers is reflected in the course of the story on multiple levels: family, society/civilization, even in the creation myth you learn about during the game.

This game is very much a story-centered, narrative one. The puzzles are rather easy, forming no hindrance to the pace of the story.
The structure of the game is also a narrative one: It is divided into chapters.
Each chapter starts with a short dialogue between the protagonist and ... well, that's one of the mysteries of the game. This dialogue serves as a recap for what has come before and as a frame for the upcoming chapter.
Then the chapter proper begins. It is presented as an account of a memory of the protagonist of a turning point in his life, and as such, also a turning point in the relation between the two civilizations.

Now, IF is a tough medium to handle flashbacks elegantly, and Trading Punches only partly succeeds. The general problem with flashbacks in IF is player freedom. How does the author handle the fact that what the PC is doing has already happened, and has a definite outcome? There has to be a way to reign in the player when she deviates too far from the predetermined path. Here, the author does that by confining the action to a tight and focused map per chapter, containing one big puzzle. (This reminds me of Gateway: small map and one puzzle per planet.)
A bigger problem arises when the flashbacks do not take place in the PC's mind, but in a conversation. Whenever I paused mid-chapter and thought about the bigger picture, I felt sorry for my dialogue-partner. What a tedious story it must be to hear an endless list of detailed micro-actions. "And then I looked at the cabinet, and then I looked at the drawer, and then I opened the drawer, and then I found a comb, and then I took the comb, and then I tried combing my hair but it wouldn't work,...)
This is more a recognition of the limits of the IF-medium than a criticism of the game. I think the problem is handled quite well here.
On the other hand, there is a great advantage to using flashbacks. It keeps the attention of the reader on the bigger picture. There is an arc of tension that goes over the flashbacks and grows in the present time of the story. The reader anticipates the story-threads and the consequences of the past actions to come together in the here and now. The game's epilogue does this very well, as well as leaving ample room for the-sequel-that-never-came.

The puzzles are very well clued, even guided. This keeps the focus on the story and keeps it moving forward. However, I do feel that there might be two great logic puzzles lying at the hearts of chapters 1 and 2 that were sacrificed to pacing. It is of course a difficult balancing act.

The writing is no example of efficient IF terseness, rather the opposite.
Long, relaxed and rich paragraphs invite the reader to slow down and enter into the story-world. Together with the background music, this makes for a very immersive experience.
It's also a joy to see the evolution of the characters through the decades that this story describes.

From a technical point of view, I have but a few small nitpicks. A fair number of nouns are unimplemented, something that does break the mood a bit in a game such as this. Some actions could have a wider range of commands to trigger them and some unsuccessful commands could yield a more helpful response instead of a default message. Nothing too serious though.
Overall, Trading Punches is a very fluid playing experience. There is also a very good in-game hint-system on the off chance that you get really stuck.

Recommended for all!

The intro of The Light; Shelby's Addendum pulled me into the game immediately.
In a rather long passage the protagonist, a certain Shelby is hurrying to get to the scientists in the lighthouse when he is engulfed by an almost tangibly dense fog. Forced to take shelter, he falls asleep in a shed and awakens in the middle of the night. Although frightened, he takes his chances with the dark and the mist, only to find the lighthouse complex abandoned. Or so it seems...

Something went very wrong with the experiment. Up to you to find out what and how to fix it.

There are more long non-interactive passages of text like the intro in the game, like cutscenes and a fighting scene between two NPCs. They are well written and do not slow down the pace of the game. The opposite actually, in my experience. They felt more like rewards after a sequence of tasks done correctly, showing you the fruits of your labour quite eloquently.
The room descriptions are also lengthy and detailed, helping to sustain the dim and gloomy mood in the fog-surrounded lighthouse.

The map is seemingly wide open from the start of the game, with just enough locked doors and hints to other areas to keep it interesting. You can explore every nook and cranny to your hearts content at first. However, as you solve puzzles, you trigger some events that speed up the story significantly and take you to other locations completely, where the pressure to act becomes much higher. (I don't think there is an actual timer, but it sure feels like it. Good writing!)

The obstacles are never too hard. Most are lock and key-puzzles, opening up new and/or hidden rooms in the complex. Some are mechanical puzzles, figuring out what button does what and getting a machine to work. It's one of these that pushes up the tempo towards the fast and action-packed endgame.

The story is great if you are willing to let yourself be swept along. In hindsight, there are some gaping holes and improbable situations (No failsafes in a project of this magnitude? Really?). Turn your willing suspension of disbelief up a notch and you'll be fine.

The NPCs were a tad too distant to my liking. I would have liked to see a deeper exploration of the scientist-gone-mad bad guy. As it was, he was a bit of a caricature.

The Light; Shelby's Addendum shines through its fast-moving plot and its consistently gloomy atmosphere. Great game!

* The title of my review is a tip of the hat to the excellent walkthrough by David Welbourn. Use it sparingly, the game is not that difficult, but go over the whole thing after you've finished the game. The work of a true craftsman.

In your previous Gateway adventure, you saved Earth from the Assassins out of pure altruism. That you also got a gazillion space-dollars for it means that you can now afford comfortably lounging in one of your penthouses on the 300th floor of a San Francisco skyscraper, living the easy life.
But what's this? Suddenly you get a call from the chief of the Corporation. A starship has been sighted on the far edges of the solar system. Because of your previous alien experiences, they want you to train the ambassador for a diplomatic mission.
And what's this? You get a second call warning you that a religious sect has sent a squad to kill you, hoping to sabotage the diplomatic mission and travel to the Artifact (as the alien starship is known) themselves.
From this moment on, you are sucked into a fast and thrilling adventure to save Earth once more, from multiple enemies at the same time.

Gateway 2 - Homeworld is extremely well paced. The first chapter is a race against time and against the terrorists who want to claim the FTL-ship. You have to get your sequence of actions just right while you hear the sect members closing in on your radio. Very gripping.

In the next chapters, the tempo goes down a bit, leaving more breathing space for exploration and wonderment. The driving force of the story remains strong though. I found myself solving puzzles not just "to read/ find out what will happen next", but to genuinely solve a problem and help the NPCs in-game. The motivation came less from being an interested reader and more from being involved in the events in the game-world.

On the surface, the story is an action and adventure-packed SciFi romp. You fly different spacecraft to various alien worlds, solving the problems at hand with a variety of futuristic tech-gadgets.
Somewhat deeper in the game though, through dialogues with and lectures to Heechee NPCs, thoughtprovoking themes come up. There is a philosophical/theological debate about death, resurrection and personhood with a learned alien priest. At a certain point, you are asked to give lectures about Earth to the aliens, and these go into ecological issues like overpopulation and depletion of resources. In another lecture, your character talks about human tribe mentality and nationalism as an obstacle to solving societal problems. All pretty deep.

Don't let this spook you though. The dialogues are all menu-based and the different options mostly don't matter much, making room for some comic relief in your choice of responses. The lectures are cutscenes, so if you get bored, just spacebar them away. Still, I liked the depth of themes and it had me pondering the issues after the play-session.

The core of the game still consists of the "simple" task of exploring strange new worlds and defeating the bad guys by overcoming the obstacles.

Gateway 2 goes even further than the first game in putting you in many different settings: a huge spaceship/zoo (yes, i said "zoo"), an ice world and the Heechee homeworld. While the settings are very diverse, each one of them has a rather small map. This is a great design choice. It helps keep the fast pace of the story going, and it makes for straightforward and tight puzzle spaces.

The puzzles and obstacles all fall on the easier side. They are more entertaining and involving than frustrating. They don't take you out of the story while you're thinking and reasoning about possible solutions. They are all well clued, or as I like to put it: because of the limited number of available objects and the smallish settings, the possibillity-tree is well trimmed.

As in part 1, the pixel art is great and adds a lot to the playing experience. In this part, gameplay does depend a bit more on using the mouse to interact with different keypads, locks, and menus. (Or, if you want, you can busy yourself moving a mouse-cursor with the arrow-buttons on your keyboard. Just saying, the option is there...)

Gateway 2 - Homeworld had me really involved in its SF story for a week. A magnificent otherworldly adventure.

One.

Rimworld is a thoroughly enjoyable though standard SF-adventure.

So, threehundred years ago, during the intergalactic war, the people of Rimworld closed off their planet from the rest of humanity with an impenetrable forcefield to avoid getting involved in the devastating fight. They were never heard from again.

Now, a diplomatic ship has been sent to Rimworld to re-establish communications. Only a one-man dropship can penetrate the atmospheric barrier: your dropship, which crashes upon entry. No help seems to be nearby.

Here we have one of my most beloved SF-tropes: stranded on a desolate planet. The initial game-area is small, simple and orderly. A bit boring even. But once you explore the outer rooms, the game-world quickly expands. Teleportation portals and different types of vehicles bring you to new submaps, some bigger and certainly more challenging than the initial map. Very good use of space and bottlenecks.

The puzzles you encounter are the usual adventuring fare, for the most part. Certainly not bad, but nothing very original either. There are two "action-puzzles", one which involves climbing and one which involves evading and killing enemies. Although there is some logic to them, they are ultimately try-die-repeat puzzles. The final endgame puzzle depends on using an object whose workings are underclued, which is a shame. Aha-moments are not so exhilarating when they are the consequence of "let's just throw the entire inventory at it and see what happens." There has to be some planning and expectation involved to give the player a sense of accomplishment.

I would have happily given this game four stars for entertaining me for a week with its puzzles, the great scenery, the alone-on-the-planet feel, but the outro bummed me out. One, there could have been at least two more playable scenes after the "boss-puzzle". Two, it left me feeling like I had just watched a no-brainer action-flick from the eighties ("The hero has put everything in place, nothing left to see here. Move along folks.") while there was certainly room for some introspection or a hint at a wider meaning. Bummer.

Still, a good adventure. Nothing more, nothing less.

After a few false starts I have finished the most-impressive World.
Before we turn our attention to the awesomeness of the game, there are a few negatives I should get off my chest:

(I played the DOS version 107)

- It is extremely easy to cut off certain paths of exploration, which means losing points, or to put the game in an unwinnable "walking dead"-state altogether. (On the plus side, you can literally walk around while dead in this game. The game tells you that although you cannot act on your surroundings anymore, you are welcome to keep on exploring if you choose to do so. No practical reason, just... fun?)

-The parser is very picky about what commands it accepts. There are no synonyms for objects, so you are condemned to type "knapsack" over and over. Luckily, "knapsack" is a funny word. The parser does not understand X, so you must LOOK AT or EXAMINE.

-I found four game-crashing bugs, all when pushing buttons. For those who do not enjoy this and would like to know which buttons not to press, open the spoiler: (Spoiler - click to show) Do not push the round button in the control room. (Well, I later learned from the walkthrough that this button makes a nearby star go nova, obliterating everything around it, including you. So maybe it obliterates your gamefile too...) Also do not push any of the buttons in the metal room except the white one.
All the important buttons work though, so this does not stop you from completing the game. (It might make some points unattainable though, but I didn't really care.)

-The version I played has only one save-slot. Once saved, you cannot go back to an earlier point in your playthrough. (DOS version 106 has multiple slots, but they behaved funny. Plus that version was in ugly bright blue instead of the soothing white on matte-black of version 107.)

There. Now that we have that out of the way, let's dive into the sheer awesomeness of World!

This is a huge and diverse and immersive piece of interactive fiction.

After noticing that surface scanners were hindered by a strange forcefield, a landing party was sent down to a mysterious planet and crashed. While the engineers work on getting the dropship operational again, you are appointed planet-explorer on a search for resources that might help them get the job done. After walking some distance from the crash site, you notice that you are caught behind a forcefield not unlike the one the mothership detected from orbit. No way back, so you press on forward. Looking down from the top of a ridge, you see a breathtaking view of various terraformed areas, all with their own vegetation and, perhaps, other life-forms. Just the job for your inner adventurer!

There are multiple locations such as this ridge in the game: on a hilltop or a rocky spire you can see the landscape around and below you. I love this in games. It gives you an exhilarating sense of spaciousness, and it hints at where to go and what you might find there.

From this view it is immediately obvious that this is a large and sprawling game-world. The geographical zones are neatly separated from each other, suggesting that the puzzles will also be contained within their own zones (they are, for the most part). In such a big game, there is no need to camouflage the boundaries of the map. For one, it is large enough as it is without giving the impression that it goes on even further. Secondly, the boundaries flow naturally from the whole concept of having terraformed areas. Anything beyond it is obviously inaccessible because it won't support life.
While the different areas have rather complicated maps with many paths and roads crossing and going over and under each other, the geographical zones are only connected by a few access points, providing clear limits to the puzzle-area you are in.

Puzzlewise, there are two sorts of puzzles in the game that serve different purposes.
-Maybe a bit disrespectfully, I would call the first variety "looting-puzzles". You have to locate important objects, be it for the repairs of the dropship or for the scientific mission your ship was on in the first place. Or because they are worth a lot of money...
These tasks consist of visiting locations, finding and getting objects, using objects in sometimes surprising ways and taking pictures of interesting things you come across. These are mostly limited to the geographical zone you happen to be in.
-The second kind of puzzles revolve around understanding the bigger picture. You'll want to figure out who the builders of this place are, what their intentions are. Also, you need to explore this entire map to find a way to get off this planet.
These puzzles require more technical/engineering skills, finding and combining objects from all over the map. You will also need some leaps of knowledge and insight to reason a few moves ahead and see why you are doing what you are doing. (Solving puzzle X will hopefully get me the information I need to overcome obstacle Y which in turn will tell me what the *snorf* I should do with object Z I've been carrying around since move 9.)

A little reminder: any objects (except one) you use for the puzzles are one-use-only. No take-backsies, no stash somewhere, no market, no helpful NPCs. If you give the peanuts to the elephant, you will have none for the monkey. (There are no elephants, monkeys or peanuts mentioned in this game btw...)

The majority of puzzles is fair and logical. Once you know the properties of the objects and machines and plants and... you encounter, the solutions are difficult but straightforward. (No magical thinking or huge lateral leaps.)
But... To understand the properties of the aformentioned objects, machines, plants,... you will have to experiment. And carelessly experimenting with single-use-only objects leads to...? Walking-dead-syndrome, that's right. So save everytime you think there might possibly be a slim chance of losing an object and only then carry out your experiment. Frustrating? I wouldn't call it that. I'd say it's rather suspenseful.

Since this is a game from 1988, of course there have to be some objects hidden in the most arbitrary places, far from the puzzle they help solve. Are you an explorer or what?

With all these puzzles, it is helpful to keep in mind that this whole world must have been terraformed and built by some intelligent beings. This implies intentionality in how your surroundings work. Things are so-and-so for a reason. (I really like how the author has brought in an extra layer of purposefulness this way, by incorporating in-game creators of your surroundings.)

Now, on to the characters:
-You are an essentialy traitless adventurer. I like that in this sort of game because I can feel directly connected to the adventure. It's me who is exploring this strange world, without having to think about the psychological backstory of my character.
-The NPCs, if you can even call them that, are completely unresponsive (except they kill you when you disturb their hockey game, in one case...). They do have a lot of character though. They clearly have their own objectives and priorities (like hockey, in one case).
-And then there's the robot. The endearing, helpful and a bit sad robot. Pity I couldn't do anything with him except boss him around. I like the robot.
(quick clarification on the syntax of how to boss the robot around: TELL ROBOT, GO NORTH)

The writing overall is good. It serves its purpose without drawing too much attention to itself. Some of the more elaborate descriptions (when you encounter a particularly important species or event) might be a little overdone, but I didn't mind.
The tone of the parser's responses is weirdly mixed: Most of the time it's neutral, as in "You can't go there." Sometimes it's snarky: "Ridiculous." And sometimes it just has to insist it's just a line of computer-generated text in a computer-game: "That word is utterly beyond my limited vocabulary."
Once you have an inkling of what this world you're exploring really is and what steps you have to take to move forward, the suspense takes over and the game drives itself forward, carrying you along with it. That is good writing.

My strongest feeling of this game is one of wonderment. Like watching a long drawn out fireworks show in slow motion: a series of ooh's and aah's with each new discovery. You should really play it.

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.

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.

Some fifteen years ago, I came across this strange gameplaying/storytelling -medium. They called it Interactive Fiction. I thought it sounded interesting, but it turned out to be confusing, frustrating. I did not feel welcome in this world.

Then I came across "Worlds Apart". Thank you, Lady Britton, for "Worlds Apart".

For days on end I lost myself in this game, this story. Outer and inner worlds entwine. Exploration demands diving into ocean and mind alike.

Since that experience, I've played a lot of good, even great IF, but...

"Worlds Apart" will always be my first love.

Edit: It has been brought to my attention that what I called "retro-gameplay feel" is actual sparsity due to the limitations of the Commodore 64 on which Hibernated 1 was originally written. I therefore added a star for "tight programming in small nooks and crannies".
More in the comments.


"Hibernated 1" is a pretty straightforward sci-fi game with cool electronic engineering puzzles and an abandoned alien ship to spend a few cool hours as a space heroine.

That is, it could be, were it not that the game overdoes its retro-gameplay feel by quite a lot of notches for my tastes.

Although the basic descriptions are good, sometimes even great, implementation of scenery is almost non-existent, making it hard to get a feel for the spaceship you're investigating. Even more frustrating, implementation for needed objects is also very minimalist, leading to exchanges such as this:

> X SLAB
It is what it is. A closer examination does not reveal any new insights.

Is the glass slab lying on the floor or standing upright? Is it the size of my head or taller than me? Is it clear and transparent or milky and opaque? These "new insights" might give an inkling as to how to use this thing.

Oh, talking about that verb: due to the two-word parser, you need to USE objects. In the right place, and , very importantly, at the right time. If you do not, the response is unforgiving.

>USE PARTS
That is not an option.

Even though you really do need to use those parts in that location, only there is something else that has to be done elsewhere in the ship first. So, no helpful responses to tell you you're on the right track.

Well, since you're carrying around IO, a semi-sentient robotic tamagotchi to assist you, you'd think that helpful feedback would be provided by simply:

>TALK IO

but unfortunately, 99% of the time you get:

That is not an option.

Because of all this, it is clear at every moment that you are not a female spacecaptain uncovering the secret of a lost alien spacecraft. You are you, sitting at your computer taking a stab at the right sequence of commands to type to make something happen to the gamestate.

That being said, once you've come to that agreement with the game and with yourself, "Hibernated 1" is a fine "logic-in-the-dark" puzzle. Just don't expect too much back from it, like feedback and stuff...

This, ladies and gentlemen, is good work!

"Fragile Shells" is an excellently made text escape game. It consists of a series of interconnected puzzles, all of them solvable by using logic, common sense and a ready knowledge of basic physics.

Maybe too easy for some, but I found that the layering of one puzzle onto another, linking their solutions together into one clear chain from the givens to the conclusion was very satisfying indeed.

Just about every command I tried had a meaningful response, a very friendly game indeed.

Add to this an exciting backstory remembered in bits and pieces by the protagonist to frame it, and you get a short and delightful IF-gem.

A good story-driven game with easy puzzles and a menu-based conversation system, so nothing gets in the way of defeating the Brainguzzlers and saving your 1950s American Smalltown.

I really liked the game for the first half hour of play. After that the caricature of 1950s scifi horror, and of 1950s American society began to wear me down. I began half expecting The Jetsons coming down in a UFO of their own to drop off the Fonz who would then save the day.
I also doubt that "Jeepers!" would last long as the swearword of choice during an alien attack.

Technically, the game is very well put together. The scripted conversations are perfect for an uptempo story like this. Intro, middle and endgame are well paced. I would have liked some more implementation of scenery, but that would have slowed the game down, so it's understandable. What did bug me, and slowed the game down is the lack of synonyms available. A fast-paced story-game like this would have benefited from a wide choice of different names for your items so you didn't have to stop to remember how something was called in the description. I hated that in a scifi setting such as this, "blaster" was not recognized.

Probably best played in one go, straight through to the (slimy) ending.

Emily Short is one of my favourite IF-writers, and when I found this big story-game with her name under the title, I pounced on it!

And it is good. Apart from being an immersive adventure and a detailed exploration of a fine city, deeper themes also shine through.

Truth above obscurity, even if truth also means complete transparency?

Creativity above strict order, even if creativity also means chaos?

The writing is top-notch, the NPC interactions feel real, the city and its history hold the interest, but in the end, the game misses something.

Is it because the game is so good that I raised the bar impossibly high?

Finding an outdoor café where there were no interactive NPCs and where nothing story-moving happened disappointed me.
Finding out that a little nook in the gameworld, about which I dreamed up many possibilities, didn't play a role in the story didn't feel like a red herring, it felt like a let-down.
Finding out that certain information I found about my character didn't matter to the game was a pity.

But those are nitpicks, and very personal nitpicks at that.

This game is very very good. Just not as amazing as I really really wanted it to be. And that's on me.

So play it.

The overarching theme of "The Orion Agenda" is an exploration of the implications of the Star Trek prime directive (not interfering with the natural evolution of technologically lesser developed cultures). Aah, many an hour have I spent waxing philosophically about this question after a Trek-marathon with friends...

The game is nicely structured: a light and funny bureaucratic puzzle to begin with, a somewhat harder midgame (that makes excellent use of the flashback), and a slight twist in the finale, where you also need to use the insights from the midgame.

NPCs mostly do what they have to, no more, except Rebecca, your partner, whom you can order around a bit. (REBECCA, JUMP)

I know it's not for everyone, but I like me some text dumps. Here, you get a SciCorps manual with your equipment and some screenfulls at the end of the game to summarize the moral dilemma.

A good game worth mulling over a bit after you're done.

Babel. What a game. During my first tentative journeys into IF-land, I stumbled across this deep, dark psychological horrorstory. I recently replayed it and it's still as haunting as it was then.

Do not riff on Babel for using the amnesia-trope. I have seldom seen it used so effectively as a source of suspense in IF. No lazy author here, but a tried and true storytelling technique that takes the reader down into the deep with it. Think Dr. Jeckyl.

Early modern IF that it is, Babel sometimes relies heavily on non-interactive scenes to make sure the player sees the whole story. I don't mind this one bit, I am as much a reader as a player, but I know this bothers some people.

The story is great, albeit not very original in this genre. Well told, well paced. The surroundings are fantastic, I thought. Varied enough to avoid feeling buried in a tunnel, without losing the thrill of the dungeon-feel.

The puzzles are not so hard, as long as you are patient enough to stick to The Adventurers Code: Read! Explore! Examine!

All in all, a true classic of the modern age.

This is a very short but enjoyable game.

The first part is mostly an introduction to the characters. You talk to your brother via a choice-menu, which gives the author the chance to put a lot of the brother-sister dynamics into the conversations. Downside is the almost mechanical ticking off of options.

In this part you can also experiment to your hearts content with the powersuit you found. Very much fun!

The second part switches quite abruptly to a big boss-fight. Use the skills you've learned to subdue the monster.

That's it. Short, easy, fun. That's all you need sometimes.