Thanatophobia

Every year I have one author I didn't know with whom I trade a flurry of testing emails. It's exciting. I learn a lot. I wish I'd have started sooner, but on the other hand, I'm glad I had a chance to focus. Thanatophobia (TTP) was such an experience. An innovative interface and seeing my suggestions fixed quickly made me quite happy. As a reviewer, I try to dissociate the enjoyment I had changing works and seeing an IFComp entry under the hood before the big reveal on October 1st from, well, is the work any good? On replaying to actually review it, I think it's still quite good, and I'm glad people reviewed and discussed it despite minor technical hurdles (note: best played on an Opera browser with VPN.)

Now my ideal IFComp entry would be comedy. I do wish IFComp would have more of such entries, where people overcome frustration with coping. Nothing cheesy or prosperity gospel-ish, nor any too-hackneyed "Ha ha ha just deal with it" or outright absurdism for its own sake. But I've always been interested in new and different ways to Deal With It, and a lot of what I write revolves around that, albeit abstractly or weirdly or related to parts of my life I can't share, and if I did, it might not make sense.

Thanatophobia pretty clearly establishes itself quickly as Dealing With Something. But the cheap fun jokes are missing. It's not oppressively dark, or dark for darkness's sake, though. You can guess what's going on pretty quickly. Someone is describing a dream they have. You need to ask them questions. The right ones may push them forward, but it's not necessarily a matter of "hey, look, I can speed-run through with the exact ones." Madeline, the subject of your interrogations, so to speak, gets less vague as you ask more pertinent questions.

As for what you're asking her about? Well, that's something you may guess at with an elementary knowledge of Greek, given the title, but it's not revealed right away. There's a dark figure in the corridor she is dreaming of, but she can't look at her face, only giving small details.

Thanatophobia's natural language parser seems very good and also knows quite a bit of trivia. I just asked about Ren and Stimpy for the heck of it during testing, and she had a non-generic response. TTP's playing a tricky game here, because in order for it to feel real, Madeleine will have to have a response to everything, and a lot of times it is watered down. That can lead to saying oh, why bother, but on the other hand, given that she is vague about other things she needs to be specific about, it works pretty well. You learn when she is being meaningfully vague, and when you should push forward with what you have to say, and when you are just going down a dead end. So it sort of felt like an emotional intelligence test back at me.

How does one pass that test, then? Thanatophobia has three main points, which are revealed in the hints, unobtrusively placed in a pop-out box below the game's main image, which changes when you hit a critical moment. But you and probably figure out pretty clearly when meaningful progress is made. Madeline talks to you about her family, about her friend Kim, and about her friend Kim's family. She reminds you of how you met, and that plays some into what you need to ask about. She wonders why you knew she might have needed you, and you can probably figure out some of the reasons as you go through things. All this doesn't happen right away. I don't know what goes on under the hood, but you slowly start asking about things, and she slowly starts revealing more or saying "But I can't X, can I?" If you get too far off-base, there are nudges back. She notes there's something she's worried about and would like to be asked of. It's much more natural than a quit button or even "Don't leave me now!"

The end was not a huge surprise for me, but that didn't matter. I pretty much knew what had to be done, and I saw through it, and I sort of didn't want it to be true, and I still think I had empathy for Madeline and what she went through. It's certainly an issue we need to address, and in many different ways, especially since, well, I recently saw one of John Oliver's This Week Tonight that addressed the issue: (Spoiler - click to show)it was about how drug gangs in Brazil took more precautions against COVID than the government did, because people being alone is a huge risk factor in drug addiction. You get bored and need something to do, and surely with COVID done, you wouldn't keep at it? So it hit home a bit extra based on what I'd recently experienced, as well as (nothing too dramatic) realizing I was eating more than I should when my athletic club closed for 3+ months back in 2020. I guess I got away with not too much damage, but I did spend too much time playing computer games.

It's tough to provide a new spin on the issues that Thanatophobia raises, but I realized that it may not have been so much about the issues as about getting someone to open up and tell you their secrets, even if you're not the sort of person who looks into secrets. Maybe they had to hide them for a bit, but they need to reveal them to you now. So I felt there was a very good back and forth there, and I think it worked especially well because maybe just you couldn't see the usual parser prompt or whatever, and the use of graphics gave a realistic world that couldn't be too in-depth because of what Madeline needed, in the short term, to hide.

I wound up testing TTP in more iterations than I thought, and not just because I said, hey, maybe this would break things, or the author would get more feedback, or out of a sense of obligation. It provides a useful line of inquiry into certain things that are stigmatized, or into people where we say, how could you be dumb enough to do that? It makes you realize what the real important questions are, without bathos or melodrama or without cloying with too much sympathy. I found it a boost for my IFComp stretch run, both technically (hey! I'm finding stuff!) and also as a reminder of things I'd fought through that I could feel good about, even if they were not as critical as what Madeline saw and experienced.