Reviews by Sobol

Since prehistoric times, people loved anthropomorphic animals; one of the reasons is a huge potential for generalization.

When watching movie actors with certain facial features, hair color, skin color, this human concreteness of detail somewhat impedes seeing in them our friends, our relatives, ourselves - and, thereby, somewhat hinders our understanding of universal things the movie is trying to say. But Judy Hopps, an anthropomorphic rabbit, looks like many and many different young girls from different parts of the world.

Aesop's fables are always about humans - but not about specific humans. Even when they feature human characters, those are always extremely abstract figures with minimum individuality: "a shepherd", "a fisher".

House of Wolves is a very short game about a young human who is being raised by eponymous talking canines. The wolves fit here especially well: on one hand, they're dangerous predators, long feared and associated with cruelty; on the other hand, there are many stories of wolves adopting human children. And they are similar to dogs, so familiar to us and so capable of loving us... in their own way.

I personally find wolves wonderful and beautiful creatures, but it doesn't really matter in this game - because, in truth, it's not about wolves at all. It's about humans, just like an Aesop's fable. About parents abusing their children and trying to shape them into something they could never be. There are many ways to understand it; you can read it as a fable about being transgender, or about being vegetarian, or about many and many other things. There's a huge potential for generalization.

The story mechanics is of a particular interest. (Major spoilers follow.)

(Spoiler - click to show)The game gives you an illusion of choice and then takes it from you. It's a technique used in several classical games such as Rameses. Although it may seem to make a story resemble static fiction, it's actually a powerful twist that only IF can manage. Never having freedom of choice from the start and having freedom forcefully taken away are two completely different experiences.

"The Little Match Girl 5: The Hunter's Vow" is the tenth game about the titular Match Girl overall. Being familiar with the previous nine, I correctly expected it to be smooth, pleasant, gripping, and take me to some more interesting times and places.

What I didn't expect is to be genuinely surprised. Come on: it's the tenth game on the same subject.

It surprised me. Then again. And again.

P. S. "Goroshinka" means "Little Pea" in Russian. That's another Andersen reference.

A small, silly parody of Suspended where you turn dials and observe, via monitors, how your settings affect the planet.

I think Admiral Jota's SpeedIF output is worth serious scrutiny for those who want to learn making very short but entertaining parser games. Being so brief and written under strict time constraints, his SpeedIFs don't offer deep stories, complex game worlds or clever puzzles; and yet they are fun to interact with.

A series of scenes from the life of an opera performer (or a backstager, if you choose so) in an alternate reality version of the XIX century where doing opera is traditionally a female occupation - like in Shakespeare's time acting was a male-only profession.

I didn't find the overarching story about your theater's relations with the authorities really exciting, but the writing, the atmosphere and the richness of detail were good; the city of Tristendesande felt alive and interesting.

On the whole, the game was rather relaxing. There are some things at stake for the PC - your performances may prove more or less successful, the Opera may even be closed down - but you mainly go around eating delicious and well-described food, wearing elegant and well-described clothes, riding in carriages, singing in aristocratic salons, talking with mostly pleasant characters (there are no "villains" here, although there are conflicts of interests), casually seducing people and generally having a good time.

If you liked young detective games by Brendan Patrick Hennessy and Felicity Drake, you should probably also try Sixth Grade Detective. It's in the same genre, but with younger characters: the children are around 11 years old, and reading about their fluffy crushes is as sweet as watching Chico and Roberta dance. The mysteries you investigate are accordingly tamer - like finding a missing book in the second episode.

The characters are likeable and have some curious hidden depths; I was particularly surprised by Kyle, the leader of the bullies. And the fifth "case" was really heart-warming.

A concise, effective story with a couple of twists and interesting narrative mechanics akin to Common Ground.

It wouldn't work as static fiction. The player has to make choices without having full information and not knowing what to expect next - this experience is important in presenting the character of Nora Curtis. The plot structure doesn't just serve to tell a punchy zombie apocalypse tale; States of Awareness is also about personal relationships, and our current pandemic, and other things.

On my first playthrough, I got the most positive ending - but didn't realize it was the best for the characters until I replayed the game.

Those planning to participate in the recently announced Emily Short Anniversary Contest might be interested in this 2001 mini-tribute - a SpeedIF by Admiral Jota. Emily is the villain of the game, disrupting the XYZZY Awards ceremony. There's a reference to Metamorphoses and some other in-jokes.

In reality, the next ceremony went without incidents (you can read the transcript here); Emily won the Best NPCs XYZZY for her Pytho's Mask.

I had a dream based on Grimnoir after playing it. Don't really know what made this game so engaging; I guess it's just an interesting story, deliberately filled with recognizable clichés but humane and absorbing. It would make a good TV series.

After exploring and interviewing witnesses, at the end of each chapter you are faced with a diagnostic puzzle (in the vein of When in Rome). These puzzles make you read the previous text carefully, searching for clues, and not just skim through the links - which, of course, adds to the experience and makes the game world more vivid in your imagination. The bestiary guidebook you are given is well-researched and, in addition to unavoidable vampires and basilisks, features some rather unusual monsters; I was pleased to see it starting with Alkonost, a lesser-known creature from Russian folklore.

The owners of the house are gone; they will not return. But the housekeeping robot still continues to clean dust, make food for them, trim their lawn... Sounds familiar? Yes, the melancholic first part of the game is basically Ray Bradbury's There Will Come Soft Rains. But then the author takes the premise in a new direction.

They Will Not Return is a short science fiction story in the classical spirit: you should play it if you like Bradbury and Asimov. It's the third game by John Ayliff that features an AI protagonist; and his AIs are wonderful - not too humanlike, not too machinelike, touching and sympathetic. (When playing Seedship, I cared about the player character as much as about the success of its mission.)

On the first playthrough, I was having fun and experimenting and enacting a fireman fantasy. Then I died. Then I thought about the game for a while, replayed it and adjusted my rating up a star.

The Volunteer Firefighter is probably the most realistic ChoiceScript game I've played. It's set in our present world; the events and characters described are much more mundane than, say, in SLAMMED!; there's very little of extraordinary, over-the-top; no striking plot twists, no clever narrative tricks; you don't even have a chance to do many "heroic" deeds. It's a simple and honest game and it has some simple truths to remind you of.