No More

I helped test this game. This is a brief one-room parser game with a well-written atmosphere. You are in a carriage with your father who has come to a grim decision regarding your future.

The game lets you talk and look around as well as several other actions. The issue with parser games with puzzles in ectocomp is that it can be hard to correctly clue things in a way that people can naturally follow the puzzles; fortunately, while the main game isn't too hard, the author managed to fit in Story Mode, which you can activate by typing STORY and which basically types in a walkthrough for you. I found it to be useful even after completing the story itself since it helped me key in on important things.

I definitely like the setting and the nuances here, the focus on the details of the wood and cloth and expressions.

No More is a short horror one-room parser made in Inform, in which you, a young woman, are given an opportunity to escape your abusive preaching father before reaching the nunnery meant to imprison you. It uses a simple and limited command list, there is no losing state (merciful) and it includes a StoryMode for non-parser players (or see what you missed).

Stuck in a carriage with the patriarch, which you were forcefully thrown into, you wait for the right moment (and having enough courage) to strike back and set yourself free. On a bright full moonlit night, only a little push is needed to transform yourself. Examining your environment drives most of the story at first, until you get to that culminating point, where it hits that sweet sweet spot of cathartic.

It is most obvious (and pretty neat) in the shift in perceptions of the characters - how the description of the father and yourself change as the story progresses, when the newfound confidence and self-assuredness grows within you. The obvious shift in power marked in the mirroring descriptions of those two characters: your body shivering, which you try your best to stop, leading you to be scolded by the mighty patriarch VS the old powerless man shivering in fear as you tower over him. And that mirror is also seen between you and the objects in the carriage (with the lantern being another cage, the closed curtains as a wall between you and freedom).

It is also interesting how the story uses the werewolf to convey this story of breaking chains: the woman turning to an actual monster to regain agency and power in the unbalanced dynamics, because who else but herself can save her (probably not the nuns). Rather than monster to be feared, a way to freedom.