Reviews by autumnc

I've started to wonder what would have happened if Hanako had stayed in the IF community rather than move to visual novels, and if Porpentine had moved to visual novels rather than twine. What if a twine version of LLtQ was submitted to IFComp 2012, and a visual novel version of Howling Dogs was published at Steam? How would the gaming world have changed?

The author apparently participated in the IF community in the early 2000s as Papillon, creating One Week among other games. One Week is a time management game with visual novel/dating sim-like mechanics, where the choice is of which action to perform each turn. LLtQ follows the same genre. The main choices involve time management: what to study each week, and where to spend your free time. There are also CYOA segments for major events. The ultimate goal here is to help Elodie (the titular queen) survive until her coronation, and hopefully become the kind of person who would be a good queen.

LLtQ is a difficult game. The "cruelty scale" doesn't really work for choice-based stories, but basically it is possible to die in a copious amount of locations, and there is no forewarning of death. There are unlimited save slots, but it is difficult to pinpoint the exact point at which your failure has become inevitable, and trying to avoid that failure could lead to a different fail state. Helpfully, the stat checks are explicitly given on both successes and failures.

LLtQ has a *lot* of stats, and a lot of little branches based on these stats. However, most stats will only be used a few times; some are only useful once (but that one time will save your life). The time-management gameplay is an optimization problem; how do you best allocate your training time so that you'll pass the key stat checks by certain events? Like in a lot of visual novels, it basically boils down to making a plan of which choices to make at which times, except there is a much larger space of choices than most choice-based games. This often requires replaying, which is encouraged by a fast-forward mechanism. By replaying, you learn the important moments where death is inevitable unless certain checks are met, the "bottleneck" part of the branch-and-bottleneck structure.

Oh yeah, there's also the art, writing, music, setting, etc. LLtQ is a visual novel with anime-esque artwork. The setting is basically a medieval fantasy with rather detailed worldbuilding around its history and politics. Most characters have hidden sides to them, but only some of them are plotting to murder you. There is a dating sim element where you can potentially find Elodie a partner, and there are a lot of interesting character moments that can be missed by not passing the relevant stat checks.

So. Homestuck is a webcomic by Andrew Hussie that ran from 2009 to 2016, and is in some ways still ongoing. It was very interactive-fiction-inspired, for example with the page-advancing links in the format of parser commands, and text adventure-like descriptions of room objects. In addition, there are interactive segments in the comic. So it makes sense that there will be fanfiction of Homestuck written as IF (although this is a twine game, not a parser game, there are other parser homestuck fanfics). Among the relatively limited world of Homestuck fangames, this is one of my favorites.

This is a story taking place from the perspective of Jane Crocker, one of the main characters of Act 6 of Homestuck. She has just been mind-controlled by the Condesce, an insectoid fish alien who is the empress of the mostly extinct troll race and is also Betty Crocker, Jane's adoptive ancestor (it makes sense in context, sort of). Now, Jane serves the Condesce's will, doing her bidding in her plan to recreate the old troll empire. She's forced to hurt her friends and do stuff against her former interests.

The story is about Jane's existence under mind control. There are always multiple options on each screen, to try to get free or fight back, but clicking on any but the "correct" one, the options that commit harm and are forced by mind control, causes the screen to shake and flash red. Clicking on these links too much will cause Jane's brain to explode. "Denial of agency" and "player complicity" are pretty common techniques in IF, but I think this game works particularly well. Also I enjoyed the writing which captures the flavor of the darker side of the webcomic, while having its own distinct prose style.

The Arboretum is an introspective romance story. It is basically a linear click-to-advance story/kinetic novel (I'm reluctant to call it hypertext even), with only one choice at the end that is more reflective than anything else. However, I appreciated the writing enough that it worked for me.

The story is told as a flashback from two perspectives: the protagonists are middle-class Asian-American high school students living in a college town in Texas, Derek and Lillian (upon re-reading, I don't know if Lillian is Asian-American, but Derek is). Both of them are introverted and socially isolated, and both of them are not really interested in the paths that are pushed onto them by their academically-oriented families. Despite being a little stereotypical, this depiction rang true to me. Eventually, Derek asks Lillian on a possible date, and she accepts. They hang out at a mall, and later go on a date to an arboretum, hence the title.

Most of the sentences in the story are introspective, providing Derek and Lillian's inner monologues. They both have their own anxieties, Derek about being a "real man" and living up to expectations, Lillian about her lack of a stable identity and her literary imagination. The two of them connect through acting out roles as anime and video game characters, of playing at and abandoning pretenses, of revealing tidbits of their "true selves" insofar that such a thing exists. Maybe it's just my personal biases, but I really liked the writing in these bits. It feels self-aware and lacks the self-importance of a lot of coming-of-age stuff.

The story ends with Derek and Lillian fast-forwarded 10 years. They've grown up and have real jobs now, never meeting each other since high school, and they both have memories of their past meeting, filtered through nostalgia. Will they meet again? That's the one choice at the end of the story, after which it immediately ends.

The author has done a lot of other work in games, including writing Eliza, one of my favorite visual novels. So I'm probably a little biased here. I would say that this story is similar to Lilium and other introspective and nostalgic twine stories.

This will be about the entire "The Knot" series, as this game contains its conclusion. Overall, I think the games are rather interesting both as a vaguely meta-fictional exercise and as stories in of themselves, and worth playing. It might be best to play them by opening all three games in the browser simultaneously. In general, the presentation is nice, but I am extremely not a fan of the slow auto-advancing text, which is the entirety of the ending sequence.

Spoilers for the ending and for the story overall: (Spoiler - click to show)"The Knot" is a tale about power, storytelling, and alternate worlds. Each story within The Knot contains the same character names and elements in different contexts. They are all about conflicts between two central figures: Chirlu and Ilfane, who are entangled with an artifact called the Knot, supposedly a source of ultimate power. Sometimes Chirlu is presented as a "good" character, other times as an antagonist. In "Terror" he is an evil sorcerer, in "Adventures" he is a Nazi archaeologist, and in "Incident" he is a benevolent scientist. Ilfane is more of a mystical concept than a character; it is a location in "Terror", an ancient autarch in "Adventures", and an evil alien race in "Incident".

(warning: extremely basic and naive analysis ahead - this is like, my opinion only)

Overall, Chirlu and Ilfane represent the conflicting natures of rationality and mysticality/tradition. Neither are totally "good" or "evil; rationality can be put in service of evil as easily as it can be in service of good. However, both figures always seek out the Knot, which is supposed to be the source of their ability to do the ultimate good for the galaxy, or to give themselves ultimate power. Chirlu especially always seeks out the Knot to achieve their ends, conditioned by the societal conditions in which they are raised.

The Knot itself is treated as a representation of power in some way. But the conclusion of the story shows that the Knot does not even exist; it is totally incapable of the feats ascribed to it throughout the course of the stories. This can be interpreted in multiple ways. The Knot is a video game, and the solution to a simple video game puzzle will not give one the power to change the world or to fight Nazis. Similarly, it could be a commentary on the impotence of media in general to bring change. Or on a simplistic, one-off solution to achieve societal goals, sought by progressive revolutionaries and fascists alike. They enter the halls of power, only to find the halls empty.

As a game, the Knot is not particularly challenging: the solutions are given explicitly, and labeled as such. Finding The Knot is not a challenge. But the Knot is ultimately hollow. It is certainly not the ultimate source of power. It might not even exist.

Solarium is one of my favorite pieces of interactive fiction, or any fiction really. It's another of those stories that I find myself returning to over and over. Every time I read it, I feel like I discover something new, another layer to the story or a reference I didn't understand. If anyone hasn't yet, you might want to play it for yourself without reading this review; my description won't do it justice.

Insofar that Solarium is primarily about any one thing, it's about the horrors of the Cold War. In their quest for supremacy over the Soviet Union, Americans turned to esotericism, with a magical archaeological discovery that promises to protect them from nuclear retaliation, thus breaking the game theory of Mutually Assured Destruction and allowing a first strike. Of course it doesn't work that way; actually they awakened an ancient evil that wanted to destroy the world. And it did. But that's just the surface; there's a lot more to the story.

Solarium is a hypertext story told nonlinearly and nonchronologically. It is a mystery story where the mystery is from the perspective of the reader, to find out what happened and why. There is a root node taking place "after mutually assured destruction" and many flashback segments (can I call them storylets?), each associated with a substance, unlocked by going through other flashbacks (which are treated as alchemical rituals). Through these flashbacks, the player discovers the history of the protagonist and their relation with the events that lead up to the nuclear apocalypse.

There are two endings decided by a final choice at the end. It makes sense; everything that comes before is flashback to prepare the player for this final decision. Spoiler description of the plot and ending: (Spoiler - click to show)The plot takes the cold war and moves it to cosmic dimensions. The protagonist is the reincarnation of an ancient godlike figure, and both his lover(?) Annalise and the Archon (the spirit contained inside the magical amulet) are also reincarnations, playing out an ancient cosmic drama between good and evil. Their bodies are no matter; the Archon takes over the president's body, and the protagonist is reincarnated as men and women, including a priest and a soldier. All of them are endlessly lonely through reincarnation, and the Archon tries to attract the attention of the Creator by acting up, by causing so much mayhem and evil that God is forced to notice him. Meanwhile Annalise is as pure good as possible; it's implied that she is the reincarnation of Jesus. The ending is with Annalise dying permanently, and the protagonist can either join her in death or keep on living. In the latter ending, eventually the protagonist finds the Archon's amulet again, because they're so lonely and need a companion.

The game is littered with a complex array of references, from literature to religion to real-life Cold War history complete with actual documents. Maybe it's only impressive to a relatively uncultured person like myself, but I thought it was incredible, and made me look up a lot of things on Wikipedia, like the real life Project Solarium, the use of LSD by the CIA, Gnostic religions, and the history of alchemy.

More generally, the writing is incredible (in my opinion). Every sentence just feels perfect. I don't know how to talk about it without gushing. The nonlinearity and gating are usually well thought out, and work to pace the story and control how and when the player accesses certain content. Most of it is pretty easy to navigate, but there were a few moments where I wasn't sure how to proceed. But it turns out that some storylets can or have to be repeated multiple times after getting new substances.

A Catalan Summer is a family drama about forbidden love and politics, taking place in a Catalonia household in the 1920s. It is told from the perspectives of four members of the bourgeois Vidal family: Josep the patriarch who secretly loves men, Maria the wife who wants a relationship Josep can't give, Clara the too-romantic and imaginative daughter, and Jordi the rebellious son with left-wing political inclinations. There are lots of perspective switches that show all sides of the story. Overall, I liked the game a lot. It's a rather rare theme for ifcomp, and the narrative is suitably dramatic and complex while not overstaying its welcome.

Basically, the major choices at every step can be boiled down to, do you seek out what you secretly desire which might lead to your downfall, or do you stay in your assigned role for the good of the family and stability? Each character has their own temptations. Josep is tempted by Charles's flirtations. Maria is tempted by Toni, the son of the gardener. Clara is tempted by a ghost (which is like, an actual ghost?). Jordi is tempted by leftist political movements and Montse, a working-class young woman. Each of them secretly seeks out the source of their temptation while also resisting it for the sake of keeping up appearances, for getting along and not rocking the boat. There are multiple endings depending on one's choices as each of the four characters. There are also some side plots involving Catalan independence politics and labor issues, which I don't think factors into the ending. In my playthrough I stuck to the more safe path for all the characters, so I might have missed some content.

The writing is mostly kind of understated, with rather sparse descriptions and just a hint of the characters' inner states. We only get a little bit of how they feel about abandoning their potential lovers. So the reader is left to infer or imagine what the characters are really feeling.

In terms of structure, the story is less interactive than it seems at first. You can explore the house with "go up"-style choices, but everything pushes you towards the direction of plot advancement. The final party scene is a bit more free, where you can take control of any of the family members and play their parts in the story. Unfortunately, the room descriptions don’t really change with perspective shifts. It would have been interesting to see what the different family members thought of their spaces (would Jordi see the alienated labor present in everything? would Josep be possessive? how would Clara see things differently from Maria?)

The game appears to run on a custom-designed html/js system. For the most part it works pretty well. However, I was not a fan of the bright red background color. I had to change it to black to not burn into my eyes. Also I wish there was more of an indication of when the perspective was changing. There is a name showing the current perspective character, but no other indication.

This is a story I go back to over and over again. It's very short, no more than ten to fifteen minutes. I really enjoy the prose; it has a very nostalgic feel, like memories of a childhood I never had. With a few sparse descriptions it manages to construct a very specific time and place, and immerses you in the feeling of being there, of just being a kid and going on camping trips and sleepovers and experiencing love or something like that. It's kind of beautiful. Insofar that there is a plot, it's rather abstract, jumping back and forth among different memories, all told in present tense as if it is all happening simultaneously.

Stay Lost was written in Texture, where the main form of interaction is dragging words onto parts of the text. To be honest I feel like there aren't really any advantages over twine-style clickable links in this game. This is basically pure hypertext; there's not really a notion of "meaningful choices" or anything like that. And there isn't really a need, either. This is an example of a hypertext where the interaction mechanisms work to help tell the story, creating a sense of tentativeness and uncertainty.

Fallen Hero is one of the most popular Hosted Games, and it deserves its popularity entirely.

Fallen Hero came during a glut of superhero stories for Choice of Games/Hosted Games: there was the Heroes Rise trilogy, its spinoffs The Hero Project: Redemption Season/Open Season, and The Hero Unmasked, as well as the Community College Hero series and Paradigm City from Hosted Games (there are probably others I forgot, plus tons of WIPs). Something about superhero stories makes them well-suited for the CoG style: the power fantasy, the customization choices, the ability to easily slot your OC into an existing world. Fallen Hero doesn't entirely defy these conventions, but it does twist them in a way different from all the other superhero choicescript games.

As the title implies, Fallen Hero is about, well, a fallen superhero turned potential supervillain. You play as a former freelance superhero named Sidestep, who went through a traumatic experience leading them to turn against their former allies. The main path of the story is about the steps taken in the quest for revenge, and there is no way around it; you can decide whether Sidestep is reluctantly or eagerly embraces their goals, but their major actions will usually be the same. Most of the choices are reflective: how does your character feel about what they just did. In many games, this wouldn't work, but here, it absolutely does. The character of Sidestep shines through, and is always just so fascinating to read.

The writing in the game is superb, in my opinion. The prose is just really good and really memorable and enjoyable to read. As is the characterization, pacing, and so on. There's an excellent balance between fast-paced action, quiet reflection, pure horror, and even occasional moments of comedy. Speaking of which, your power is mind control, and you also control a puppet, another human body that you use for your own purposes. One of which could be to pursue another character romantically at the same time as your actual body. Yeah. There's an achievement for that.

It has somewhat of an unreliable narrator; there is plenty that the protagonist knows, but the player doesn't. What exactly happened to Sidestep to make them turn is never described (there will be a sequel). There are a lot of mysteries left. I enjoyed the process of trying to put together the backstory in my head; it took the second playthrough to really get it.

I've played and enjoyed the author's previous games, so I was really looking forward to this one. "A Murder in Fairyland" shares their quality writing and design, but it doesn't feel like a complete experience.

Compared to 16 Ways and Open Sorcery, the world of this game feels much more surreal and less grounded. While it takes place in the same broader universe as Open Sorcery, there's very little in this game connecting it to our reality, unlike with Open Sorcery's characters. It takes place in a world with fairies and other magical creatures, with bizarre and inhuman rules and behaviors.

The one "human" aspect of the game is the main character's disability. It took me far too long to realize that they were using a wheelchair (I didn't recognize what "Roll North" was supposed to refer to). The protagonist is not able to climb stairs or open some doors without waiting for help, and there are some references to the fairy-world equivalent of the ADA (also called the ADA), and a subplot involves going through a mind-boggling bureaucratic process to file an ADA complaint.

This is a heavily puzzle-oriented game. The puzzles range from word finds to riddles to filling out forms correctly, to more broad interaction and item finding. I loved the form-finding and filling puzzles, even if they weren't technically necessary to finishing the game. Finding forms involves figuring out a code based on a convoluted but ultimately logical set of rules. Filling out the forms required gathering more information from different areas, and was a good way of characterizing the world. The magic was also interesting, but did not have much use when it came to the actual murder mystery.

There is also a minigame, very vaguely like poker but with the cards being tarot major arcana, where the rules are unknown. It was interesting to try to figure it out. Although maybe the game is something that already exists.

The resolution of the murder mystery was rather frustrating: (Spoiler - click to show)I was a bit frustrated because I thought I knew who the murderer was, but they were not an available option, even after seemingly exhausting all possibilities throughout the game world. Thus, I started looking through the code. It appears that there is a lot of content that is written but might not be accessible, including several characters and a way to reveal the true murderer. I'm not very familiar with twine code so I might be wrong? Maybe I just didn't explore thoroughly enough?

Edit: Here is a brief guide to getting the correct ending, after reaching the mystery: (Spoiler - click to show)I needed to get form 536W for the weather report to get snowflakes diagrams, and give it to Lirana, so she's distracted and then I can take the autocsi scroll. Then I gathered the poison sample and did autocsi on the corpse, and then used form 533P to get the poison analysis (this required getting the moon phase with form 104M; I guessed the ley lines but there's probably a form for that). To rule out Rinecoat, I talked to him, examined the weapons, and got dust from Veinseeker. To rule out Lirana, I got the neutrality contract by filling out form 227H and talking to the crystal ball in the library. To rule out Nyx, I used the Flier: Noon-Sun Ceremony (was this the random conversation hint?). To confirm that it is Xylia, I looked at the corpse after using autocsi, and took the thread.

Choice of the Vampire was one of the first Choice of Games, which in October 2020 received a major DLC/expansion, bringing the 3rd (or 4th?) major segment of the story.

I feel like there has been a recent proliferation of vampire-related interactive fiction and visual novels recently. It is difficult for me to talk about this game without comparing it to the Vampire: the Masquerade franchise. Much of the vampire lore is similar, with the international vampire Society, the masquerade, and political conflicts between different vampire factions, as well as the basic vampire "biology". In some ways CotV almost feels like a fanfiction of VtM. However there are no vampire clans here.

CotV is as much a game about American history as it is about vampires. Sometimes it feels like having the game be about vampires is just an excuse to have a character who lives through lots of interesting moments in American history, like a 19th century vampire version of Forrest Gump. There are a lot of references to both major events, like the War of 1812, Reconstruction and its downfall, and the labor movement, as well as somewhat more obscure events, like the early days of baseball (or “base ball”). The quantity of historical references increased in the Memphis and especially the St. Louis chapters as opposed to the New Orleans chapter. Playing the game reminded me of high school US history class, in a mostly good way.

There are a few opportunities to work against the tide of history, but the tide of history is always stronger. You can play as a vampire who is a former slave or a free person of color or a Choctaw, with all that entails. You can help or hinder the destruction of the Confederacy at Vicksburg (the city falls no matter what you do). You can support the freedmen in Memphis, but they inevitably fall prey to the KKK and the yellow fever. You can try to support the labor strikes in St. Louis, but they are crushed. Or you can do the opposite of that: own a plantation with slaves, literally join the KKK, help the Pinkertons crush the labor revolts. Either way, the broader historical forces never change.

In some ways, I feel like the game tries to do too much. There is a very large number of characters; I could not keep up with all the different senator candidates, governors, praetors, quaestors, and so on, and often forgot what those titles even meant. There were just so many names, and while the characters were reasonably distinct, they sort of blended together. They were all just a bunch of jerks. Some supported Stone and others supported Adonis. I didn’t even see how they were different; they both seemed like jerks too. The glossary of vampires was nice, but kind of difficult to navigate. This is not to mention all of the mortal characters, who are often actual historical figures.

In addition, there are a lot of short-term plotlines, but the long-term plot is not very present. New Orleans was about trying to rise in society. Vicksburg had the siege. Memphis had the senator election, looking for Wilson Maddox, the yellow fever, and the municipal bonds. St. Louis had West and the Columbian Exposition. Sometimes, there are so many different things going on, it's hard to keep up. There are also many brief plot points that are brought up once and quickly abandoned. There are a number of romance options, all of which end poorly. The long-term plotlines are basically the Stone vs Adonis revolution, your chosen long-term vampiric goal, and general technological/societal change. The “metaplot” doesn’t feel as developed as VtM; there’s no Gehenna or Inquisition or Anarch Revolt or Sabbat or stuff like that. Much of the deep lore about vampires remains mysterious throughout the course of the game so far.

The story tries to tie in the historical struggles with the vampiric struggles, but it doesn’t really succeed at giving a sense of urgency to the latter. Compared to VtM: Night Road, there is not so much of the "personal horror" or pervasive dread that each night will be your last. Hunger frenzies and turning into a wight do not seem to be present. There’s little sense of danger even when you really are in danger due to West in St. Louis.

(Spoiler - click to show)Speaking of which, I ended up getting killed by West. I wasn’t sure if it was That Kind of Game, since I didn’t seem to be in danger of death in any of the previous chapters. It felt kind of sudden.