All Hands

(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).

There’ve been a goodly number of short Texture games this Comp and last, and call me jaded but by now I’ve got a pretty solid sense of what to expect when I see one coming up next: a personal narrative with a reasonable albeit clunky metaphor, confusing use of the drag-and-drop interface, interestingly flawed writing, and minimal branching. Leave it for the last such game in my queue to leave me spluttering and unsure of what I’ve just seen: All Hands is, I swear to y’all, a limited-parser game in Texture form. I didn’t know you could do such a thing, but now that I have, I think the system might be almost perfect for it?

In retrospect, this maybe should have been obvious to me. The drag-verbs-onto-nouns interface is quite similar to how classic graphic adventures were set up, but since most games tend to change the verbs on offer with each passage, the resemblance is typically obscured. Here, the player gets a consistent trio that map cleanly to traditional IF actions – reflect/examine, take, and approach/go – and the author’s also set things up so that after an introductory section, you’re able to wander around different areas of a ship and even revisit places you’ve been before. And while I wasn’t even aware Texture could do much in the way of state-tracking, there are obstacles that are clearly puzzles, and which respond in different ways if you’ve acquired the right tool or piece of information. I wouldn’t say any of them are challenging – this is very much an exploration-focused game – but this is a sturdy formula to drive player engagement, and it’s well-realized here.

Uncharacteristically, I’m three paragraphs in and I haven’t said anything about the game’s plot or themes; it’s time to remedy that, but take the omission as an indication of just how much the structure bowled me over. So you’re a young person living in a fantasy version of the real world who’s always been fascinated by the sea, and as part of your backstory, your sister killed by sea monsters, so this fascination has a dark, obsessive element to it too. One night while wandering the coast, you come across an unearthly vessel that plays host to a strange, ocean-going carnival. The ringmistress invites you aboard and gives you a chance to explore before the show begins, and as you poke around belowdecks, you can uncover the ship’s secrets, some of which are uncannily personal…

The premise is over the top, in other words, and the writing sometimes doesn’t sell it as effectively as it could – as you climb the ladder onto the ship, for example, you’re told that there’s a bunch of dust on each rung, indicating that it’s been a long time since there’ve been any visitors coming aboard. It’s presumably meant to be a spooky touch, but it’s rendered ridiculous by the fact that you’re scaling the ladder in the middle of a storm, a detail that this very passage takes pains to remind you of. But there are some authentically eerie notes too, like the observation that the ship’s larder seems to stock only root vegetables, which is bizarre and oddly specific. Overall, despite its moments of weakness, I liked the prose; unfortunately, you’ll need to trust me on that because I played the game on mobile which meant that whenever I tried to copy and paste any excerpts into my notes, it crashed (Texture gonna Texture).

The game’s climax is a nice capstone too, snapping into focus some thematic elements whose presence earlier in the narrative seemed slightly off. It seems like there were several different endings the player can choose between, based on how deeply they plumbed the ship’s mysteries, which was a pleasant way to make the parserlike gameplay relevant to the story, though once again one of Texture’s foibles reduced my enjoyment; I wanted to go back and try out some of the other options, but without an undo or save/load option, that would have meant replaying the whole game from the beginning.

I guess I can’t help banging on about Texture even when reviewing a game I enjoyed; it’s a frustrating piece of technology. But for a change, I can actually see how it supports what a game is trying to accomplish, and the tweaks I’d want to see to make the system work better are just tweaks, not fundamental reimaginings. That’s an exciting place to leave my journey with Texture for the year, so nice work, All Hands; your weirdo creepy circus and this weirdo creepy engine are a surprisingly good fit.

This is a Texture game, a system that uses a drag and drop of verbs to pull over nouns. The text was small on the buttons, which is a bug I’ve seen before that’s due to the system, not the author, I think.

I really liked this game. I’m into weird short horror/terror and the author has an excellent command of character and setting and is able to effectively spin a tale that drew me in.

The main commands are APPROACH, REFLECT, and TAKE, and I loved how each of these took on different meaning throughout the game. I also felt like I had real agency; there was an interesting object early on I intended to look at but lost the chance as I progressed; yet there were still interesting things to do. It made me feel like the game was replayable.

I found one ending (The Captain, I guess you could call it). It seems like there are more, but I felt satisfied with my playthrough.

I would definitely read more by this author, good work. It suits my particular reading tastes, and I can’t guarantee that others would have the same experience.

All Hands is a short horror-y interactive piece set on a ship, one you can explore, and maybe find its secrets. Its prose is atmospheric horror, with a hint of lovecraftian. In each screen, the game offers up to three actions (Regard/Approach/Take) to interact with the text or the environment. There are multiple endings, but found just one.

Due to the vagueness of the prose on what is truly happening or even your own backstory, the entry leaves quite a bit to the player's interpretation. Called to the sea, but always forbidden to sail, you find your way to the Devil's Delight, a singular type of ship. Aboard, almost pulled in by a strange tune (music? voice?), you can explore the different rooms of the ship, or interact with the Captain's. At the end, I found myself back on the shore, believing Albertina was some sort of a mermaid, and I was her prey; and the ship itself felt a bit ghost-like.

I quite enjoyed the interactivity of this texture game, with the different actions (almost parser-like kind), how you could explore the ship and interact with different element (the books made me giggle). The few available actions give the illusion of restricted agency for the character, as if the PC was restricted in their movement or abilities on this strange ship. That and the imageries from the text really gives a creepy and almost suffocating vibe to the game.
But I wonder if Texture was the best engine to use for that, due to the lengthy hidden content shifting the text formatting (I liked the content a lot! Texture formatting it less so).