Reviews by RadioactiveCrow

This is a parser-based game featuring several puzzles, but also some funny scenes and dialogue. You play as Ichabod Stuff, the recently fired village-idiot of Swineford, headed back to the farm where you rent a barn stall, to figure out your next career move. You have to talk to the family you live with, and their animals, get some minor "quests" to start your career as a knight, and then complete them. The game features the typical parser interface, but with a menu-based dialogue system, which I appreciated.

The game is relatively short and features a fairly small map. Early on, before I was sure just how big the map was I did feel the need, for the first time in years, to draw my own map. This was primarily because the game used ordinal directions, which I have trouble keeping straight in my head. There wasn't really a pressing need for it and if the map had been rearranged to only use cardinal directions I think it would have made the game a little better.

I think the game starts really strong, particularly in its non-puzzle parts. The first descriptions you encounter, and especially the first dialogue you have with the NPCs, can be laugh-out-loud funny. I also appreciated that early in the game as you are going through the typical examine everything routine, that the game will just go ahead and make you take the objects that will be useful later, while not letting you get anything that won't be useful. The puzzles in this game were plenty fun and challenging (more on that later) without red herrings, so I appreciate that the author didn't include any.

Before I go into what I didn't like about the puzzles, let me talk about the stuff that I really did like. The animals. Any puzzle involving direct interaction with an animal was delightful. Some of them were (Spoiler - click to show)guess-the-verb puzzles, but in the best way possible, with plenty of clues given to figure them out without too much hand holding. Any time I feel impressed with myself for figuring out a non-standard puzzle without too much frustration I enjoy it very much, and in those situations the credit really goes to the author for excellent puzzle design. I also really liked how those puzzles figured into the story arc and ending of the game, they were integrated into the whole, not just one-off puzzles. Finally, the game has a really good hint system accessible via the help menu, it is split into different sections so you don't get hints you don't want, and doled out Invisiclues-style, so if you just need a nudge you can get just that.

Regarding what I didn't like about the game: (Spoiler - click to show)the nest puzzle. Two aspects of it frustrated me greatly. The first was getting straw. Annabelle makes it very clear that you need straw and you only see it mentioned in one place, in your stall. But when you try to "get straw" or reference it in any way the games tells you that you can't see that here. I banged my head against this one for awhile. The description of your mattress and the "gaping hole" made me think the straw was spilling out, but I had to read the clues to understand that you have to "examine hole" in order to get the straw. So this was an example of an object clearly listed in the text that wasn't implemented in a way I was expecting. On the flip side, another aspect of this puzzle, the mud, was something that was implemented the way I expected, but wasn't clearly described in a way I was expecting. You can't find a mention of it in that room's description, nor when you "examine stream". Of course it is obvious that a stream is the place you would find mud, but in the midst of my frustration regarding the straw, I was wondering if the stall and stream were red herrings and I should be looking elsewhere for my straw and mud. After reading the hints and just typing in blindly "get mud" I was able to complete the puzzle. Later I realized that if you "examine bank" the mud is mentioned. I feel like here the mud should probably be in the room description, but at the very least examining either the stream or the bank should mention mud (or they could just be implemented as the same object). One other small problem with a puzzle I had, but got past quickly, was finding the cat after you get it out of the tree. After you fall from the tree there is no indication which way the cat went, but given the small map only two directions make sense. However, when you head NW to the clearing, the game seems to indicate that you hear the cat from that direction before you reach the location. It took me a second to realize I had to go NW again from the clearing. Unlisted exit puzzles are tricky, I think this could have easily been avoided by 1) put the text indicating that you heard the cat in the room description after you reach the clearing rather than on the way there and 2) making the direction you have to take out of the clearing not the same direction that you took to get to the clearing, as that makes it more confusing. The issues with these puzzles and the frustration they caused is pretty much the only reason I gave this game three stars. If they are fixed in a post-IFComp release I will happily bump my rating up to four stars.

Overall, a fun game with some clever puzzles that is well worth your time.

In this choice-based work you play as a kid who, in order to escape a bad situation at home, goes to a Neopets-like website called Ruffians and makes a friend named BusyAsABee. The game plays out over the course of 11 chapters and 11 years (you start as an eight-year-old and get one year older each chapter). The game primarily plays out through the chat function on the Ruffians website, though in the interludes there is some conversation with your sister (including voice-overs). Over the years you have the choice of how to develop your friendship (or romance) with Bee and how much to reveal about your troubled home life.

The middle part of this game is rough, with the player-character experiencing (Spoiler - click to show)maternal abuse and ridicule at school. Some of the scenes and conversations are heart-breaking. But thankfully, in the end there is still hope and things are looking up. Depending on how warm you've been in your conversations with Bee, the ending scenes can be beautiful in how much trust and love has grown between the two of you. I played through the game twice to try some of the other options. It is possible to get an aborted game if you don't want to open up to Bee at all in the beginning, and some of the best stuff is cut if you are more aloof towards the end. So in this game, as in life, it seems best to open yourself up to those that love you to get the best experience.

I thought this game did many things well, including a realistic portrayal of a now decades-old messaging system, and the speech patterns, cadence and abbreviations of kids chatting with each other online from elementary school age through college. The images of the Ruffians website were also great to help set the mood. I also thought the voice acting was very strong and really added something to the game. I loved the character of Rachel and her relationship with the player character. Finally, I had a huge smile break out across my face when the game ended with some music, a la the credits scene in a movie. It was a great song for the occasion and I let it play to the end.

The few things that I didn't like were the parts of the game where the audio looped until a part of a scene finished. Purposefully, the audio is intrusive to match what is happening in the scene. But the more it repeated the harder it became to focus on the text. I'd recommend the audio fading out or stopping after 2-3 loops. Also, sometimes the text and graphics were so big that I had to scroll to find the right place to click to continue the story, and I think that could be polished a bit to make it more compact.

Well worth your time!

This game is a parser-based puzzlefest and it has one of the most clever and unique mechanics I've seen in a game. You play as a six-year-old girl, trying to help her father get ready for dinner, while her mom is on the phone and her brother is hiding in his bedroom. At the beginning it seems like a normal (even somewhat boring) situation, with you doing a couple fetch quests in what is an extremely normal environment. But early on you figure out that all is not what it seems and your options are a lot more open than you realize. To say much more would be be spoiling it, so the rest of my review will be hidden behind spoiler tags below. But I will say this, even as the environment and puzzles aren't what they seem at first, neither is the story. The author's ending to the game really ties everything together nicely and brings some warmth to it. It is a fun story/game, especially for this time in the world.

Mid-Game: (Spoiler - click to show)The mechanic of being able to change things in the dollhouse and see them change in the normal house is great and I'm very curious what kind of coding it took to implement that. I did not figure that mechanic out by myself, but rather asked for a hint for another puzzle and got a hint that clued me in to being able to not just rearrange things in the house via the dollhouse, but to filter things through the dollhouse. I think it is a fair puzzle though, it is obvious looking at the dollhouse that it is a recreation of the actual house so I think it is only a matter of time and experimenting before you realize you can grow things.

As delightful of a turn as it was to have a dinosaur suddenly appear in the house (I loved the dialogue between father and daughter when that occurred), I wasn't as big a fan of the stegosaurus and hamster puzzles. Those steps didn't really follow upon one another and I had to rely heavily on the walkthrough. Also, for me the stegosaurus appeared before I'd gotten the brother out of his room, so I had to figure that puzzle out while this crushing sense of urgency to deal with the dinosaur is hanging over my head and it threw me off.

Late-Game: (Spoiler - click to show)So I figured out that you could take a page out of Inception and walk south from the dining room and into a much larger version of your room by accident. I was trying to navigate quickly and accidently typed south when I meant north. The next time I was in the dining room the description showing that you could go south was there and I wondered if I just missed it earlier. But the walkthrough talks about an exit that isn't listed (this must be the one time the instructions say you will have to type something in, rather than point and click). That said, if I hadn't discovered it on accident I think I would have become extremely frustrated by my inability to make progress shortly thereafter. And I think the problem is compounded by the point-and-click interface the author implemented (which I loved) that clearly let you know what was possible in most circumstances so that you wouldn't really consider stepping out of the house in that way. Though, now I see that perhaps that might have been the author's intention, to get you to think outside of the bottle, so to speak. Still, I think a better solution would be to have that exit appear when you'd progressed to a certain point in the game.

I thought adding this extra layer to the puzzles, being able to filter yourself through the dollhouse in addition to objects, was genius and was a lot of fun to use to solve the last puzzles, which I thought were clever and fair. The one thing I didn't like however, was climbing out of the house and down the ladder and realizing I'd messed something up and having to navigate my way all the way back to my room in the normal house to fix it.

Ending: (Spoiler - click to show)When it finally dawned on me that there was no one coming over to dinner a big grin spread across my face. I had noted the date on the calendar earlier and thought about the implications of having another family over to dinner during a pandemic, but then put them out of my head because games don't have to match reality. I wonder when the author conceived this game, if it was since the pandemic struck then that is a truly amazing amount of work to put in to a game of this complexity in about six months or less. The ending scenes and speeches were great and just what I needed to hear at the end of this year. Bravo!

This game has the feel and structure of a parser game, but in an extremely user-friendly choice-based, hyperlink format. A marvelous fusion between the two styles and something I hope to see more of in the future.

In this game you play as a member of a three-person team of mercenaries, given a quest to slay a dragon in exchange for more money than you know what to do with. As the game progresses you have to manage a few different aspects of the game including your personal stats, your loot and your relationship with your companions. Along the way to your ultimate goal, you will have the opportunity to explore the town you find yourself in, talk to many different people and even take on side quests to help boost your stats or acquire some loot.

The interface for this game is incredibly smooth and polished. The game gives you very clear directions, both on the instructions screen and weaved in to the text throughout. If I understand correctly this game was written in Twine and I think it really showcases just what Twine is capable of (and it is capable of a lot more than I thought before playing this game). Even though every choice you make might not have a huge impact on the game they all have a subtle impact that can be seen and appreciated in meaningful ways. You really do feel like you are living the story and that you have much more agency then is actually possible in a choice-based game. It really does feel like an old-school RPG or a D&D session, in the best way possible. There are a plethora of choices, the characters feel well-developed and the atmosphere is great.

My only complaint is that it seemed some of the tasks you can attempt to complete have very high stat thresholds for success. While all the major or necessary tasks seemed to have a reasonable bars to get over, some I felt like I would truly have to grind through the story, finding all the hidden ways that I could increase my stats, to be able to succeed at them. That was slightly disappointing. Also, I think there was at least one time that a certain choice was locked to me because I didn't have a certain relationship status with one of my companions, but looking at my stats page I did have that relationship. It might be a minor bug. Neither of these issues really got in the way of my enjoyment of the piece though.

Finally, I thought the epilogue was great. The author did a great job of making all those little side quests mean something in the end and I really appreciated that.

Well worth your time.

According to IFDB as best as I can tell this is the author's first game, and it definitely feels like the game you'd write based off of half an idea just to see if you can make a functional game. That said, it is a pretty good first effort, lacking depth and in need of polish, but showing potential.

You play as a vampire businessman, bent on getting revenge on your chief rival, another vampire businessman. You have to infiltrate his headquarters and destroy the latest project he is working on to ruin his reputation and his company. The parser was pretty well implemented and I only had to fight it a little, but there were a few hiccups that threw me off. The game bills itself as a comedy, but I think the hardest I laughed was reading the introductory blurb. That line was genuinely funny, but much of the rest of the game is only barely grin-worthy. The puzzles are lacking too, feeling either nonsensical, or telegraphed (again, like this game is a test run). However, I did enjoy the climatic scene and thought the solution to that, once I figured it out, was very clever.

The map is mercifully small and depending on how much time you spend reading the extra content (i.e. all the possible dialogue choices) can easily be completed in under an hour. A good first effort and I hope to see more from the author in the future.

This is a very short choice-based game where you play the CEO of an investment firm facing moral choices about the company's action as well as how you treat your employees. With a game this short I don't think it is worth it to talk about the plot that much as just about anything I say would be spoilers. I will say that it is fairly heavy-handed in its messaging regarding the choices you have to make and what the author thinks the right ones are. I tend to prefer games that weave the message in with interesting plot or mechanics. Also, this game had several typos and one obvious bug, so it could stand a bit more polishing.

I did enjoy the way the author made visual effects out of the text, with flickering or timed text, among other things. I felt that really added a sense of being under stress and/or scatter-brained to the story. I love seeing text and the IF creation engines stretched and used in interesting ways to help convey something that might be hard with plain text alone.

This is ostensibly a choice-based game, but as best as I recall only had a single page that offered up so much as two links, and one of those only changed the present text a bit, rather than send you down a new path. Considering that this is supposed to be interactive fiction, I have to mark it down for having only a modicum of interactivity.

The story takes the form of a journal in a strange version of the world where wormholes sometimes open up in the basements of houses and can theoretically be fixed by plumbers. The wormholes, if unsealed, can cause issues with the flow of time, and so consequently the journal entries don't seem to follow upon each other linearly and sometimes something happening in one entry can be explained by something in a later entry. An interesting idea, but the story just didn't grab me.

It is mercifully short though, if you want to give it a quick spin.

I mean, I guess I kind of understand why. They wanted to make a point about not having any real agency in life by writing a piece of IF where the choices don't matter. However, in this piece of IF, there are hardly any choices to make any way so I'm not sure what the point was. Instead of having any branching choices (even fake ones) the only really choices in the game were fill-in-the-blank interruptions with questions like "What is your favorite color?" But even those answers were just used to fill in text on future sentences, not in any way to try to show you how your choices were subverted or impotent. Top it all off with many spelling and grammatical errors, and a story that goes nowhere, and this one just is not worth your time.

So I think I'm coming to learn something about myself: I don't like IF that starts in media res if, whether through flashbacks or clues in the writing, you are never given enough context to help anchor you to the story. I don't need long, detailed backstories, but I need something to help ground me. I don't feel like I got that in this piece. Eventually, the pure atmosphere of it did hook me a bit, but I feel it could have been much better.

You play a girl, kidnapped and imprisoned in a large dog cage. Your choices are largely how you decide to interact with your kidnapper as you attempt to plan an escape. This isn't my favorite kind of environment to be thrown in to, so the lack of any information about who these people were really left me confused and disconnected to the story. Eventually, just the sheer tension of the situations did grab me and made me eager to see what the next turn would be. However, the ending (at least the one I got) was (Spoiler - click to show)so abrupt and out-of-the-blue, with no denouement, that I felt cheated out of a satisfying resolution to all that tension. I needed more.

Your mileage may vary.

This game is the author's second entry into IFComp 2020, along with an equally absurd game, "The Turnip". You play a student waiting for a bus when a herd of goats come walking down the street. From there things get really weird.

I played through it twice and got two of the four endings. This piece is better than "The Turnip" for sure, but still not great. Perhaps this style of writing just isn't my cup of tea, but I just didn't get it. Everything is weird without reason, which is fine if something interesting happens in the world. But nothing really does. The ending is kind of funny, but seems disjointed with some of the penultimate scenes along some of the possible paths.

I'd like to see more from this author, but I think it would have to be a longer piece with more interesting character development and interactions. Not just weirdness for its own sake.