Ratings and Reviews by Drew Cook

There's a rather famous quote about the Velvet Underground's first album. It comes from an LA Times interview with Brian Eno:

“I was talking to Lou Reed the other day, and he said that the first Velvet Underground record sold only 30,000 copies in its first five years. Yet, that was an enormously important record for so many people. I think everyone who bought one of those 30,000 copies started a band!"

In 1985, Steve Meretzky was hardly a Lou Reed. He was probably one of the better-known game developers in America, thanks to the success of The Hitchhiker's Guide to the Galaxy. Infocom, for its part, was hardly Verve Records. They had published some of the most successful microcomputer games ever made, and were making a play for big, corporate software dollars.

And yet, for all of Infocom's lavish production and post-production resources, A Mind Forever Voyaging has the aspirational earnestness of a small art film. According to Jimmy Maher, people around the office referred to it as "Steve Meretzky's Interiors," an unflattering comparison to Woody Allen's 1978 film of the same name. In fairness to Meretzky's contemporaries, amused bafflement is a possible reaction to something that one has never seen, anticipated, or imagined.

I could go on like this for hours. In fact, I already have elsewhere. So let's let this review be a review. In A Mind Forever Voyaging, the player guides an artificial intelligence, Perry Simm, though various iterations of a simulated future. The point of the simulation is to evaluate the effects of a sweeping legislative package usually referred to as "The Plan." The author of said plan is "Richard Ryder," and he and his policies are meant to remind us of Ronald Reagan.

The gameplay here is radically different from what one would have been used to in 1985. Perry must observe and record events and conditions that the game considers significant in terms of enriching or expanding the simulation. The AI is expanding its data set, in other words, while we guide Perry through daily life in Rockvil, Dakota. What is popular entertainment like, for instance, across the decades following the implementation of The Plan? How does the Simm family - Perry, Jill, and little Mitchell - get on? How are things at Perry's favorite Chinese restaurant?

Contemporary reviewers sometimes gloss over these innovations, missing the significance of centering human experiences and relationships in interactive narratives in 1985. Perhaps it is because we see these things everywhere nowadays. It can be easy to miss the influence of A Mind Forever Voyaging because it is everywhere. It can be hard to find an absence from which we can begin, from which we can detect its presence.

It has problems as a video game, and some of those problems are serious. It is not always clear what data is and is not useful for Perry, which can lead to feelings of being stuck. There is a climactic puzzle that has no relationship to the gameplay in the rest of the game. A game should train the player for its endgame, which A Mind Forever Voyaging fails to do.

I encourage contemporary players to refer to the Invisiclues - written by Meretzky himself - when stuck. If you don't understand a word or phrase in a Shakespeare play, do you look it up? The language of 1980s interactive fiction can seem equally arcane. Sometimes, these old games can feel mechanically obsolete. Which is fine! We have resources to help us through them as needed.

Some critics have invested significant ink in characterizing the model of AI in AMFV as unrealistic or incredible, as if A Mind Forever Voyaging was ever meant to be about computers. Despite appearances, it is about human beings. Humans wielding power, humans making art, humans forging friendships and families. Humans getting old together, humans insisting - rather shockingly in this context - that care, thoughtfulness, and imagination are essential to well-lived lives.

That isn't true, of course.

There is no such thing that "everybody" loves, unless it is a good night's sleep. Still, Wishbringer is emblematic of the shifting critical fortunes of Infocom games over the years. If we consider this site's aggregation alongside Victor Gijsbers's top 50 polls, we might guess that only a handful of Infocom's games retain the stature that they enjoyed, say, twenty-five years ago. At last polling (2019), those most-loved games include Spellbreaker, Wishbringer, Zork I, A Mind Forever Voyaging, Suspended, Hitchhiker's Guide to the Galaxy, and Trinity. The mix has shifted slightly in each successive poll, but Wishbringer has remained a constant. The aggregation tells an entirely different story: Planetfall, as only one example, is on the front page of IFDB games listed by rating!

Why Wishbringer? Much comes down to the talents of Brian Moriarty, who makes his stunning debut with this "Introductory" game for all audiences. The prose is descriptive and charming, and a "double world" of light and dark fills exploration with feelings of recognition and wonder. Its good-natured humor lacks the snark of so many Infocom games, and the experience is better for it.

The feelies and packaging only enhance the fairy-tale ambiance of the game and include a glow-in-the-dark "wishing stone" and an illustrated "Legend of Wishbringer" story. The story is darker than one might expect, but the quality of the content is excellent.

Regarding gameplay, I have "good news and bad news." The good news is that Wishbringer features multiple solutions to puzzles, which widens its audience and essentially offers multiple difficulties. This is an innovative approach that I'm not sure Infocom replicated elsewhere. (Spoiler - click to show)I wouldn't count Zork III's "hello sailor" solution, since that's more of an easter egg. If you can think of other cases, please mention them in a comment!

The bad news, at least for me as a little boy, is this: making wishes is the "easy" mode and awards no points. As a kid with a game called "Wishbringer" and a glowing wishing stone, I wanted to make wishes. I also wanted a high score. I cannot fault any child, young or old, for feeling disappointed.

I should recognize that this is still an Infocom game from the 1980's, which means that some of it will seem quite unfriendly to contemporary players, despite obvious efforts to make itself accessible to audiences of its time. In particular, one can make the game unwinnable early on without knowing. Wishbringer also punishes the player for (Spoiler - click to show)not drawing a map in a specific place, and it feels quite jarring in a game so friendly.

Still, these are all faults that Wishbringer manages to transcend. Don't let the "Introductory" designation fool you. This game is incredibly charming, very well written, and, whatever its failings might be, quite innovative in terms of its approach to difficulty. Highly, highly, highly recommended.