Reviews by autumnc

The premise of "enemies-to-lovers" is a common one in fanfiction, and that's what this story reminded me of. Except the main characters here don't explicitly become lovers, but rather best friends, or something like that.

TMMEWaD is the story of a superhero, Lightbringer, and a supervillain, Promethium, who have been long-time enemies in a city. But then... Lightbringer invites Promethium to a coffee shop to plan out their future battles. The latter accepts, wanting to escape jail and a likely death sentence.

The story alternates between the perspectives of Lightbringer and Promethium, and gives the player choices for both characters. All of the meaningful choices are presented as trust exercises: does the hero trust the villain, and vice versa? Picking trusting choices gets the “good” ending, while picking distrustful choices gets the “bad” ending (I only got the good ending and haven’t seen the bad ending). Sometimes there are other choices, but I think those are mostly cosmetic choices.

Overall, I thought the writing was good, especially the ways the characters would interact, but I would have liked a bit more characterization. It was not really clear to me why Promethium was a villain, except some vague description of fighting against the injustices of the world (which injustices? why would she care? how did she come to see the world like that?). Or why Lightbringer became a hero. But maybe none of that really matters? Also the story felt a bit slow to me at times.

Sometimes, the text was rather difficult to read because the background color and text color were too similar. There was one typo at the very end I think, where Lightbringer introduces Promethium to her daughter as Diana.

(Interestingly this one of at least two stories in this ifcomp with a female enemies-to-lovers storyline; the other is about a vampire).

This game affected me rather deeply. It’s a mostly linear twine story about an autistic, gender nonconforming teen who gets a job at a clothing store in a mall. She has to deal with her anxiety around people, and her tendency to go nonverbal when confronted with certain social situations, and the negative reactions of others to said tendencies. This culminates in a moment of abuse from one of her coworkers.

It felt realistic to me, as someone who sometimes acts in ways similar to the protagonist. Her mental patterns felt familiar; the constant overthinking of every social interaction, the loss of rational capacity when stressed, the feeling of suddenly wanting to cry. The writing was simple but effective, fleshing out the characters and situations in a few brief sentences. After many choices, there is the message “You couldn’t have done that” at the top, and instead of doing whatever the choice described, the protagonist just freezes up, unable to speak or move away or do anything else. It was an effective narrative mechanism, in my opinion.

Anyway, I felt that this game was very effective at what it was trying to portray. The only potential problem I had was that it was too brief, but the story didn't really need to be any longer.

This is sort of a difficult game to describe and review. It was a university MFA project, so it has clear literary aspirations and fancy writing. But those aspirations seemed to clash against the actual game design.

From a UI standpoint, this is as default twine as it gets. I’ve been spoiled in this comp for interesting CYOA visual designs, so it was a little disappointing, but no big deal. There is heavy use of time-delayed text, which was annoying. I sometimes tabbed out when that happened. Maybe for a reader who is in the correct mindset, it is okay to have time-delayed text, but it didn't work for me.

On one level, this is a story about a virtual reality world, the INFINITUBE, where “you can be anything”. It’s supposed to be an infinite world driven by the imagination, but instead it’s a gamified and monetized tech product like anything else out of the startup world. Your experience in the world is presented as a series of lightly interactive vignettes, which seem to be slice-of-life experiences for vaguely middle-class white Americans (the "WHITE" part is emphasized for some reason).

The main “mechanical” aspect of the game is going through the vignettes and trying to gather enough attributes so that you can sell them for tokens, and use these tokens to renew your subscription to INFINITUBE. You gain attributes by taking various actions. This could have been a cool mechanic, but it’s not entirely clear what actions will gain attributes (is it actions that are "successful" on some level?), or how much those attributes will be worth. Which is troublesome as gaining attributes is necessary to progress the game.

The problem is that if you don’t have enough tokens to renew, the game completely resets, apparently back to the beginning. This is made more difficult by the fact that costs for renewal escalate each session. There are also bugs where selling attributes don’t net the value that is shown. And if the game resets, you have to play from the beginning all over again. With all the time-delayed text, tons of clicking to reveal every sentence, and so on. It became tiresome enough that I just stopped playing. It feels as if the game doesn’t want the player to actually experience the whole thing.

There is a deeper layer to the story here: (Spoiler - click to show)Family drama. The creator of the INFINITUBE was apparently a boy named Charlie, who lived with his mother, Linda (?) (who was divorced acrimoniously from his father, who was probably abusive). Their lives are shown as vignettes in the INFINITUBE virtual reality segments. Somewhere else in the virtual world, Linda’s avatar is Minerva, and Charlie’s avatar is Boniface, but at the same time Charlie still exists in the game world as himself, and is trying to escape? Is the player also trapped in the virtual world? The story is interesting, and I would have liked to read more of it, but it seemed like I was always unable to progress due to a lack of tokens.

Edit: the INFINITUBE vignettes seem to be randomized. I got a vignette about a Hollywood actress dealing with an abusive work environment, and one about the 1999 WTO protests in Seattle (I liked that vignette; it's interesting to see how much things haven't changed).

I wanted to like this game more than I did. It was clear that much effort went into building the custom UI, worldbuilding, and so on, but I feel like the story didn't quite live up to what I expected based on the blurb.

The blurb describes it as Mass Effect meets A Christmas Carol, and in broad strokes, it's kind of accurate. The protagonist is an admiral for the Coalition who fought in a war against an alien race, and now the Coalition is sanctioning the aliens. The admiral is pushing for harder sanctions. Then an infiltrator hacks her computer and showing her images of the past, present, and future, possibly in an attempt to convince her to vote against sanctions.

As usual in stories with tons of Worldbuilding, the sci-fi jargon and alien species got kind of overwhelming, and even with the pop-up hints (which were a great effect), it was difficult to keep up. It was difficult to get invested in the story; Mass Effect gave us dozens of hours to establish the world and why we should care about these people/aliens, while this is a one-hour game. At the end I didn't know what to think about the aliens or whether sanctions were good or bad (and the player doesn't explicitly make that choice anyway).

I liked that the protagonist was an older woman and a mother. These traits are still uncommon for video games protagonists. And I liked her relationship with her son.

In the end, the visions were all for nothing; the admiral voted for harder sanctions. Maybe there are routes that are different?

The game was created in Unity, and the art and interface are superb. I didn't like the slowness of clicking through; there was too much friction with the animations and having to click to advance every block of text. It discourages me from playing a second time, which I now really want to do to see if there are different possible outcomes, and to see if understanding the world makes the story easier to follow.

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.

I am a big fan of cyberpunk, and I feel like "Sense of Harmony" is an excellent example of the genre (or is it post-cyberpunk? I don't know). The writing was great, especially the characterization, and the choice structure serves the story well.

In terms of structure, this is a twine story with two types of links: "digression" and "advancement". Each in-text "digression" link is an invocation of the protagonist's cybernetic abilities: hyper-senses, memory lookup, and so on. These links are color-coded by ability. Sometimes these links will reveal new "advancement" links at the bottom of the page, as if the protagonist is changing her actions based on new information. I felt like this was a really cool mechanic; it's a way of showing how the protagonist's enhanced mind works. The interface was also visually really attractive, with nice icons and layouts.

One of my favorite things about the story is how down-to-earth and humane it is. It never sensationalizes sex work or cybernetic enhancements. Insofar that the cybernetic enhancements are bad, they are bad for the same reasons that cell phones are bad (fortunately there's no suggestion that implants are dehumanizing or anything like that, unlike so many other cyberpunk products). Similarly, sex work is treated here like any other job; the protagonist's main problem with it is that she can get emotionally attached to the clients (who are mostly ordinary people with ordinary problems). The protagonist is just someone who's trying to get by; there's not much about her that is actually "punk".

The only reason I'm taking a star off is because the story is unfinished. It stops at what seems like the Act 1 climax. The protagonist makes some potentially major choices in the story, but the consequences are never shown. Nevertheless, "Sense of Harmony" is very worth reading.

Venus Meets Venus is a linear hypertext story, as is described in the opening passages (see title of review). One of the links in each passage always advances the story, while the other links function as asides or footnotes. It is a story of a relationship between two women, Lynn (the narrator) and Macy, and their struggles through sexuality and politics. Both of them are normal, flawed people (Lynn much more flawed, seemingly). The writing is excellent throughout. The language can be overwrought sometimes, but there are so many memorable lines. While there are no "branches" in the narrative, it feels much more interactive than it actually is. Links function as pacing and a way to explore Lynn's thought processes. She is someone who feels as if she lives on autopilot, and always picks the worst choice at any moment.

This was one of the first twine things I had ever played, and it was one of the reasons I became interested in interactive narrative in the first place. It was really influential for me.

Personal notes: (Spoiler - click to show)I played this game during a time when I was starting to come to the realization that I was trans and queer or something like that. It was one of the first stories I read that featured a literal non-metaphorical trans woman as a main character, and treated her as someone who was basically a normal person, and was someone who could be desirable. For better or for worse I saw bits of myself in both of the main characters. I'm not sure the story would have resonated with me as much if I hadn't been able to personally identify with the experiences described.

The Lost Heir 2 is probably the "easiest" game in the series in that it is difficult to get an unambiguously bad ending or die for real. (Spoiler - click to show)In fact, "losing" the final battle is the only way to save a certain character. Most character builds that did well in the first game will work well here.

I like the sense of progression in the game: you go from being an exiled heir, to taking over a city through politicking, and then leading an army on a quest to retake your kingdom. There are management mechanics in the city and army portions of the game; you can either increase the citizens' respect or their fear, and in the army portion you have to balance the army's size, strength, food supplies, and delays. In addition, there are still the choices of which party member to support in their conflicts. There are interesting trade-offs to be made here. However, there is somewhat of a conflict between min-maxing and role-playing; since there are no benefits to increasing relationships above 100, it is always advantageous to support the character with the lower relationship, even if the other character is your love interest or is actually correct in the conflict.

As before, the plot here is a somewhat typical high fantasy story: you are still the titular "lost heir" and your goal is to re-conquer your kingdom. The world is a bit more fleshed out; there is the requisite high fantasy "gathering the races" segment which introduces the friendly non-human species, and there are some indications of why the people who usurped the protagonist are bad (besides the fact that they usurped the protagonist). There is a new romance option introduced, and some opportunities to develop previously constructed relationships. Personally I really enjoyed the story despite it not being extremely unique; I managed to become invested in the characters and relationships.

(Spoiler - click to show)In the end, however, it basically doesn't matter how your army performed in the final battle or all the battles leading up to it; all that matters is your skill in the final climactic fight. The final fight is against a former party member who was captured brainwashed in the first game. If you lose that fight, your army is defeated but the party member survives. If you win, the party member dies but your army is victorious. This choice kind of left a bad taste, even though everything leading up to it was good.

Dragon Age: The Last Court is a tie-in for the Dragon Age series of role-playing games from Bioware, taking place in an obscure part of Thedas ("the Dragon Age setting") shortly before Inquisition, the third Dragon Age game. In this game you play as the ruler of Serault, a small backwater town in a fantasy-medieval-France-like country, and deal with an upcoming visit from the Divine (the fantasy-Catholic pope basically). It follows the StoryNexus format, which involves drawing cards from a deck and picking actions within those cards which have random outcomes based on stat checks.

Overall, the tone of the game is very different from the other Dragon Age games. Dragon Age: Origins was a heroic fantasy, DA2 was a character-driven drama, and Inquisition was largely about high politics and history. All of these games involve making moral choices, which of course become flashpoints for fandom discourse. The Last Court is not like this. The central thematic element seems to be that things are weird and dangerous in this corner of Thedas, with an emphasis on the "weird". There are magic cults, creepy deep woods, a mysterious forest spirit, and so on, plus more mundane struggles like labor disputes and the "Great Game" of espionage and social sabotage. Personally, I'm not really a fan of the writing style which this game shares with Fallen London (is it considered to be "weird fiction"?) and found myself just glancing over the writing. But a lot of people like the writing of Fallen London so whatever.

There is a *lot* of repetition in this game. The ultimate goal is to build up resources for the Divine's visit in order to give as gifts, and the optimal paths involve basically grinding certain cards in a cycle. Actually some level of grinding is inevitable, as there are only so many cards, and they will repeat a lot through draws. Combined with the 20-action limit and 20-minute recharge time (which is totally pointless in 2020 as the game is no longer even monetized), it often feels like this game has a higher grind-to-new-story ratio than the Dragon Age RPGs themselves.

There is narrative payoff though. The most interesting parts of the story are when more of the mysteries surrounding Serault are revealed. There are also some interesting character moments, but not much in the way of development even when one of the characters is taken as a companion or lover (yes, this is a Bioware game). (Spoiler - click to show)I took the Wayward Bard as a lover but I think there was only one change with his card, and little change in the text. The Horned Knight was my favorite character overall, while the Well-Read Pig Farmer was my favorite companion. Many of the mysteries do not have a final resolution, which perhaps leaves room for future Dragon Age games. However, much of the interesting parts of the narrative, the individual mysteries and such, seem to be front-loaded and can be done in a few days, leaving the last few days for total grinding. And the ending feast itself is one of the weaker parts of the game.

The Wayhaven Chronicles games are two of the most popular games in the Hosted Games catalog, based on review and download counts. I was kind of surprised to see that this game didn't have an entry here. Overall, I think the game deserves its popularity: it is a very well-written and constructed game with an engaging plot and character development, but I personally had some issues with the choice structure.

The author of this game comes from a visual novel/otome game background, and it shows. The structure of this game mixes Choice of Games and otome game conventions. Like the latter, the primary source of branching in the game is which love interest to pursue (or to pursue a love triangle option), which is an explicit choice in the middle of the story. Like the former, the protagonist has numerous options to change their personality stats or use their skills. A large number of choices are personality-setting choices, which provide a choice of what you do, and why you're doing it. I wasn't a fan of these choices because I could never figure out which choice was supposed to correspond to which personality stat, and often none of the personality choices were appealing. Perhaps fortunately, these choices and their associated stats appear to have little impact on the broader story progression (but I haven't re-played the game enough to really find out).

One of the main reasons behind the popularity is the characters. The four main romance interests (who are a team of gender-flippable immortal mostly-benevolent vampires assigned by a secretive Agency to help the protagonist) are very well realized, with their own distinct personalities and detailed descriptions of their appearances. The protagonist's relationship with their mother is also portrayed well, but I could never get past the fact that the protagonist always calls their mother by her first name.

Beyond the romance, the main plot of the game is a supernatural mystery: there is a supernatural serial killer in town and you have to bring him to justice with the help of your companions. However, the killer is revealed through perspective shifts early on; the only question is how they catch him.