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1 people found the following review helpful:
I liked the second half, January 19, 2024This is a well-made game that worked well for me in the second half where everything is coming together, with a good central game mechanic that asks the player to really learn about another person.
The first half was confusing to me. The core concept of what I needed to do was clear enough (investigate), but somehow the logic of the game didn't settle with me, so I sometimes ended up clicking on things randomly until things happened.
I also made many mistakes in the second half, but all of those mistakes progressed the plot. In the first half there's a much greater risk of getting stuck if you don't manage to think as the game expects you to.
Nice visuals, good atmosphere. I can definitely recommend it if you're good at getting into the right mindset and thinking of clues the right way.
- Doug Orleans (Somerville, MA, USA), December 28, 2023
- Xavid, November 9, 2023
- nilac, September 12, 2023
- ilyu, May 25, 2023
- elysee, May 19, 2023
- Edo, May 18, 2023
- doodlelogic, May 17, 2023
- Tita Baby, April 27, 2023
- sugar.freegirl, March 18, 2023
- dgtziea, February 25, 2023
- Jaded Pangolin, January 12, 2023
2 of
2 people found the following review helpful:
Portrait of a disappearance, January 11, 2023(This is a lightly-edited version of a review I posted to the IntFiction forums during 2022's IFComp).
Abigail Corfman’s got an impressive body of work incorporating parser-like mechanics into sophisticated choice-based formats, usually with a fantastical, clever vibe, as in Sixteen Ways to Kill a Vampire at McDonalds and A Murder in Fairyland. The Absence of Miriam Lane has points of continuity, but also departure, from this gameography – there are interesting systems to engage with, and satisfying puzzles with a fair bit of depth to solve. The setting is comparatively grounded, with the protagonist an occult investigator seeking to unravel the intensely-personal disappearance referred to in the title, with the ultimate explanation turning not on supernatural MacGuffins but developing a psychological profile of a seemingly-unremarkable wife and mother.
It’s harder than usual to talk about this game without spoiling it pretty thoroughly, both in terms of how the plot resolves but also the various distinct systems that govern its major phases, so despite the blanket warning about spoilers in my opening post, I figured I’d use this paragraph to give prospective players that if you care about such things, you might want to give the rest of this review a pass until you’ve given Absence a try (and I think most players would find it worth a try).
Okay, no one here but us chickens, right?
While there are no formal divisions within the narrative, in practice The Absence of Miriam Lane is cleanly divided into three pieces, all with related but distinct game mechanics. The first is all about investigating Miriam’s house and looking for non-obvious clues and things that are out of place. In cases of this kind, the protagonist confidently explains, both light and time are often out of joint – by looking for places where shadows are behaving oddly, or objects seem to have been subject to incongruous aging, you identify potentially-important clues (mechanically, this is accomplished by clicking through different rooms and links and sub-links for the areas and objects they contain, using a “thoughts” interface to signal when you think something’s off), and eventually discover where Miriam is.
Or where she isn’t, rather, because it turns out that she hasn’t gone missing in the sense of leaving, but rather that she’s faded away, into the titular Absence – an unmoving, nonreactive white void. In the second act, you need to remind her of who she is by bringing her personally-significant objects. There’s a rub here, though, because what’s led her to her current condition is a failure to nourish the personally-significant aspects of her life, passing them over in favor of obligations to others. So it may or may not make sense to bring her some things that are clearly salient – the spoons she uses to make food for her church’s bake sales, for example – without trying to figure out how she felt about them (you can bring most things to her husband, Arthur, to get what he knows about them, but there are often environmental clues to unravel too).
Assuming you succeed in that challenge, the final sequence involves bringing Miriam back to herself by “telling her her story” – mechanically, this means filling out a long, multiple-choice mad-libs style quiz running through her background, her frustrations, and her joys. Much of this you’ll have sussed out in the course of solving the previous sets of puzzles, but you’ll also need to make some hopefully-informed guesses to do well enough to get a good ending – I believe there are at least three, differentiated by how much of Miriam, if any, you’re able to bring back to reality.
This is a canny setup that winds up embedding a narrative arc in its mechanics. The first section is all about exploration, checking out the house and its contents for the first time. Because the signs that something isn’t right are fairly general, you need to carefully examine everything, without too many preconceptions about where you should be looking – but because the signs are pretty clear once you find them, the player isn’t left floundering and trying to read the author’s mind. Then in phase two, you go back over all the clues you’ve found in the first section and weigh them up, trying to evaluate exactly what they were saying about Miriam’s life to determine whether they’ll be a net positive or negative. There are also some more traditional puzzles in this section, fitting with the overall analytic vibe – many of these hinge on deducing that a particular flower might be meaningful to Miriam, then looking up its attributes in her gardening manual and locating it in the yard via an attractively-designed interface that mimics a plant. All that leads in the final section, where you’re explicitly synthesizing the individual pieces of evidence into a coherent narrative.
It also makes for a well-paced game. The house isn’t especially large, and isn’t inherently all that interesting, so tromping back and forth multiple times could become tedious. But because the context for your exploration shifts over time, and you feel like you’re making, concrete, tangible progress, it was usually exciting to revisit its rooms and understand more of what I was seeing, and how it could be used. Similarly, the interface is pretty streamlined. It’s not miles away from that in One Way Ticket, but navigation to other rooms is always available via a single click, and the list of thoughts and items is typically not that long (in fact, there’s an inventory limit – usually an annoyance, but important here to prevent lawnmowering, and forgivable because you never need to go that far) so I didn’t get bogged down the way I did in that game.
That streamlining extends to the writing, as well. The prose is efficient to a fault, with dialogue even presented in screenplay style, and almost completely devoid of errors (I found one unneeded comma, but that’s it). Given the large number of objects to interact with, this helps keep things manageable, and means it’s easier to pick out what might be significant since the important adjectives aren’t left swimming in a sea of words. The flip side, though, is that I found it a little dry. Fortunately, atmosphere is provided in spades by the always-visible illustrations – I think these are largely photos with the contrast blown way out, which is in keeping with the light/shadow motif that runs through the game (the illustrations also provide clues to some puzzles if you study them carefully, which I sometimes have mixed feelings about due to accessibility considerations, but I don’t think any of them are ultimately necessary to progress).
All of this makes for a solid, engaging game that I liked quite a lot. It didn’t quite reach the level of greatness for me, though, largely due to the narrative design not being as satisfying as the systems design. True, this is partially down to the workmanlike prose and uncharacterized protagonist, which even though I personally found them unexciting are clearly intentional choices. But I also found that my interest in the story didn’t rise over time and peak at the climax; instead it started out high and declined, with the gameplay providing the major impetus to get over the finish line. The opening sequence has the most supernatural elements, for one thing: they’re understated, but feverishly searching for tiny nooks where the shadows fall wrong, or looking suspiciously at a backyard sky that’s different than the one in the front, lends these early stages an uncanny thrill. And the initial beats of the mystery, where you’re starting with the least information and trying to connect the dots between the novel fantastical elements and Miriam’s beyond-mundane life, are pretty compelling.
By the time I was a third of the way through the game, though, I’d figured out the broad outlines of the backstory, which don’t wind up being that complex: Miriam was feeling neglected and overlooked, and somehow (I don’t think there are any clues that even gesture towards an explanation for this “somehow”) became an absence in her own house, an empty, invisible outline lying immobile on her side of the bed. From there, the rest of the game is just an exercise in filling in the details of this overall story, without any new developments to liven things up – and even the details don’t really add much to the player’s understanding of Miriam’s personality. There’s a bit of gameplay and challenge in determining whether she was burned out on gardening but found baking was still deeply rewarding, or vice versa, but it’s not a very narratively interesting question, and one limitation of the way the game’s difficulty is tuned is that the details of some of the potentially most compelling aspects of the story, like Miriam’s relationship with her sister, appear to be left vague in order to add to the difficulty.
Relatedly, I think the difficulty overall might be set too high. Judging by the little gauge at the bottom charting my progress, I wasn’t able to reach a perfect ending, despite playing fairly thoroughly and feeling like I had plumbed all the interesting questions and then some – in fact, the first ending I got was pretty negative. I reloaded a save and tried again, realizing that part of the issue is that you’re meant to spend more time giving Miriam stuff and making her more connected to reality, even after the third section kicks off and you think you should transition into the storytelling portion of the game. Even then, though, the ending was pretty equivocal. I think getting the best result requires you to really chase down every single potentially-important object – and ask Arthur, the world’s most boring man, about each of them – and probably do a little bit of trial and error in the mad-libs section. My brain is pathological enough that I often want to get 100% completion in games – hell, I’ve done that for every Assassin’s Creed game, there’s something wrong with me – but that compulsion never hit me here, since I felt like I’d done all the real work and all that was left was some grinding.
Switching gears back to the literary, I think the last thing that left me feeling more lukewarm than I expected about Absence is the message it ultimately sends about psychological health. As mentioned, the problem is that Miriam didn’t create enough space for herself and the things that brought her joy – an empty-nester treated with benign neglect by her spouse, after her kids went away to college, she threw herself into church functions and found herself consumed by bake sales and raffles, while neglecting the gardening and drawing that nourished her. This is all plausible enough when you type it out, but in practice what this means is that the stuff she was doing with other people, which largely seemed to focus on helping others, is portrayed as poisonous; her connections with her family largely have both positive and negative aspects that balance out in the wash; and it’s only the private, inward-facing hobbies that are unmitigated goods, with success determined by how much you direct her attention to those.
Look, I’m an introvert who was raised Catholic, I get it; the self-sacrificing martyr schtick is ultimately empty, and other people can be exhausting sometimes. But still, I can’t help but feel that this is a dark, antisocial theme to build the game around. Miriam draws but keeps what she makes secret; she plants a lovely garden in her back yard, but no one else seems to spend much time there. Art nourishes the soul, certainly, but in my experience the greatest joy in creating something is sharing it – maybe not with the whole world, but at least with one or two people. And as for the various church fund-raisers and events, even if the process of trying to do good in the world is tiring, and prey to suspect, selfish motives, well, that’s still better than just opting out entirely.
I can well see how other players’ mileage will vary on this stuff; the Absence of Miriam Lane is very well designed, with novel mechanics that draw you in, and I deeply admire that it’s unapologetically focused on a middle-aged woman’s desire to have the dignity and respect she deserves. But still, I wanted the ending of the game to reverse the negation that she’d suffered, to achieve catharsis by reconnecting her with the people who’d abandoned her in the transformative hope that things would be different this time. To call her back only so that she could replace her supernatural retreat with an all-too-ordinary one didn’t seem like progress; maybe that’s down to the theme, or just to not having gotten to the best ending, but either way I was left feeling dissatisfied with the game’s apparent views on human nature even though I’d enjoyed my time with it quite a lot.
4 of
4 people found the following review helpful:
Coming out of the shadows, but nothing supernatural, December 23, 2022A woman has vanished, well, sort of. Her husband's a bit confused. There's no foul play, really. You're a researcher, maybe an investigator, maybe a combination. That's an early choice, but your title doesn't matter. Your task is to find out what has happened, where did she go, and why.
Everything seems in order in not just the house by also the story and the technical layout. The layout feels appropriate–black and white sketched pictures, unintrusive but effective music, and a small local map in the bottom left where you click on where to go. So big-picture navigation is easy. The calculated sparseness gives us a good feeling that something is wrong. We're seeing enough details, right? But we aren't.
Asking her husband gives you additional questions to ask in general. Some things seem out of place. The light is wrong. You can have up to five questions to ask, and the right one in the right place offers clues, leaving Miriam Lane closer to visible. Ones you don't need any more are discarded. While brute force works, things are generally well-clued, and you should be able to find some clear places to ask the right questions before the last observation or two needs guesswork.
Once you become adjusted to the light, you have an idea of how or why she is gone. Here there's the only thing that really broke immersion for me, but the rest of the game is so well-done, I may be missing something: you-the- character need to find her name, which her husband never tells you, but you-the-player know it's Miriam, and based on the puzzles in the rest of the game, "M. Lane" would seem suitable. It's minor, but the rest of the game is so strong, I want to leave the possibility open I was missing something.
Once she's visible, you can start collecting items. Some of them have special meaning to her, for better or for worse. An average reader should discern pretty easily what makes her happy and what doesn't. Also, the stuff that makes her happy is hidden, and most hidden items are similar to something unhappy in clear view, and yes, this Means Something. The more positive items you collect and show her, the more optimistic the ending is, though once you know her name, describing what you've found of her also helps her return to her normal self. This threw me off slightly, too. There was a status bar at the bottom, and it increased when you gave her something nice, but I was under the impression you had to make it go all the way. You don't. But perhaps I should have known.
You see, there's a moment in AoML where it clicks that the author knows what they're doing. This is the only other time AoML slightly broke immersion for me, and that was more due to me appreciating the technical and design work, because I was looking for it when writing a review. There's a book of flowers and a flower bed. The book describes several flowers. Each flower has about five descriptions. When you pick a flower, you're asked to choose from about twenty descriptions. But you don't need all five! I can't recall this convenience before and, well, it just makes sense.
This was an immense relief but also in line with the game: you don't need to know every detail about why things happened to Miriam, or how she got to be the way she is. Although in some cases, items you find may make her upset. Several that seem happy aren't, which you can deduce if you have been paying attention, thus putting AoML that much further above your average fetch-quest. That's how empathy works in general, beyond an "oh, you like this, right? Well, you seemed to enjoy it. Whatever." Miriam doesn't need that complete understanding, yet you feel she needs it, and her husband seems to want a complete explanation. None is necessary from her, and none is necessary in-game. So when we ask for people to understand us completely, perhaps we would really just be happy with people who understood enough to block out others who tell us, with bad intentions or not, "Gosh, I just can't understand this about you." For Miriam, it's her husband not really caring about her impractical or "childish" desires and ignoring her sacrifices. While that may be a truism, AoML pushes it forward nicely.
There's one more criticism that's quite high-level. I'd like it to be easier to tab through the options. There's a lot of mouse movement, and certainly AoML is more ambitious and intricate than your average Twine effort, so there needs to be, with pop-up screens when you want to think or take an item. This is detailed GUI stuff, and it's the sort of request I only make when it's clear the author knows what they're doing and then some and, well, I wanted to see everything in-game before rifling through the source. I think with something as high-level as AoML is, it leaves you asking for more--especially because the main NPC, Miriam, never did, and look what happened to her! That's what being sympathetic gets you, game.
This is minor, though. AoML offers a wide variety of emotions and choices. You can play very badly or well. The second time through, when I knew there were things to be remembered (the more you remember and find, the more you recover of Miriam) I felt bad forgetting stuff I should have known. It occurred to me that there were people I found forgettable whom I cared about more than noisier people who grabbed my attention, and perhaps I was on the other side of that.
One more thing: AoML made more than enough sense the first time through, but it made a lot more sense when I replayed the introduction and poked around and also re-read the content warning. So much is well-hinted. It leaves you feeling you missed something, and that is your fault and not its, and that's an eerie feeling. I wound up remembering times I'd been ignored in my past, as well as people I ignored. There was no rage. But I remembered certain items people felt should give me joy and didn't, and I had an explanation. So that was a boost.
AoML and Elvish for Good-Bye were my top two rated entries in IFComp and may be more similar than you think. Both talk of unspoken desires. In AoML, they're more realistic, stuff you can't say you want, or stuff that can be easily crushed. EfG is more fantastic, more optimistic, a knowing there's something out there you can't imagine one day. Each feels necessary to give life color in its own way.
- Wanderlust, December 15, 2022
- TheBoxThinker, December 10, 2022
- Itsame64 (Mcloud, Oklahoma), December 7, 2022
- E.K., December 7, 2022
4 of
4 people found the following review helpful:
Inspector Bull, Chinashop PD, December 5, 2022Adapted from an IFCOMP22 Review
Can you like a game for pointing out how shallow you are? Cause I kinda really do. When I get in a IF consumption mood, it sometimes turns into a gluttonous, overindulgent frenzy. There’s times I may not be completely zen when I power these things up. The moody, pixelated black and white artwork shoulda been a clear clue. The melancholy music shoulda been a clear clue. The fact that it shattered my preconceptions within minutes when I went from “yeah yeah, help an old man remember, got it” to “crap, wait, there’s supernatural in here.” That shoulda been a clear clue too.
Not for Inspector Bull of the Chinashop PD, no sir. I hammered my way through the house like a warrantless entry, clicking nouns like they were Ticketmaster tickets on opening day. I was able to slow down enough to appreciate the early mechanism: connecting supernatural investigative thoughts to picture and word clues, but only just, and hammered into phase two where you (Spoiler - click to show)bring artifacts to the spectral presence you are trying to save. Only to be justifiably punished for trial and error in a completely narratively satisfying fail. This caused me to rock back. I’d made a terrible mistake here.
I poured myself two fingers of calm the F down, and restarted, and this time I tried to breath the atmosphere of this thing on its own pace. Holy crap you guys, it is the complete package. The artwork resonated so finely with the music, the page layout, the mental connection investigation mechanism… I went from ENGAGED, I’M ENGAGED, OUTTA MY WAY ENGAGEMENT COMING THROUGH to…
engaged.
The conceit of (Spoiler - click to show)effecting the rescue of a woman who was essentially so unseen by her family and so self-denying that she faded away. And that rescue requiring that you see HER, and not all the things that are not-her that clogged her life, and then TELL HER THAT YOU SEE… And the genesis of all that not being evil forces from beyond, just casual, amiable taking-for-granted from those that notionally love you. What a heartbreaking story whose only solution is to understand the heartbreak squarely and fully. You have to (Spoiler - click to show)assemble her story from artifacts in the house, then deduce what they mean to her when others may not have bothered to. Yeah, some of the artifacts’ meanings are not revealed as well as others but the whole tapestry of artifacts, spread logically and perfectly throughout the house, builds as complete a picture as you care to deduce. It is a super rewarding, tightly constructed, fragmented narrative that builds like a puzzle regardless of the order of your discoveries. It really is a terrific achievement. It is hard to believe the author was not also commenting slyly on Inspector Bull as well - if you as a player insist on treating her as a problem and not a person, your rescue is doomed to the same forces that put her there to begin with. You have to consciously care about her story, and her as a person to succeed.
Wait, was I like, the perfect IF player-partner, whose bad behavior textbook showcased the full breadth of the author’s artistic vision??? You’re welcome AML! Also shocking twist ending, even with what I thought was extreme due diligence, I needed still more focus to get the best ending! That is just the perfect thematic capper. It’s not enough when I think it is, she is the only arbiter of that.
Were there issues? Yeah maybe two. The connect-thought and inventory-use mechanisms were very clicky, required a lot of motion to do a little. That could be streamlined. And maybe when one puzzle is (Spoiler - click to show)the name of the victim DON’T PUT IT IN YOUR TITLE. That’s all I’ve got. It was so deeply Engaging if there were other flaws they totally didn’t register.
Played: 11/3/22
Playtime: 1.5hr, finished after restarting to adjust my attitude, “there is hope” ending
Artistic/Technical rankings: Engaging/Mostly Seamless
Would Play Again? Yes, bring her all the things!
Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless
- Cerfeuil (*Teleports Behind You* Nothing Personnel, Kid), November 30, 2022
- jaclynhyde, November 26, 2022
- EJ, November 21, 2022
- OverThinking, November 16, 2022
- Karl Ove Hufthammer (Bergen, Norway), November 15, 2022
- Vivian Yi, November 12, 2022
- Vivienne Dunstan (Dundee, Scotland), November 11, 2022
- Ann Hugo (Canada), November 8, 2022
4 of
4 people found the following review helpful:
Giving self to a selfless woman, November 5, 2022I love the concept of this game--that a woman has lost her own identity in selfless service. The idea that we should erase our personalities and be a "window to God's love" is one that I strongly disagree with. I'm a Mormon woman and I identified with Miriam's struggle to maintain an identity (although, for me, this is a struggle I feel in the opposite direction, maybe being too much of an individual because I fear losing my identity). This is exactly the kind of concept that I wish more videogames would address! So thank you.
The mood/aesthetic in this game is amazing. The illustrative location art was derived from photos put through filters--and they look great. The music gives a great spooky mood too. I was amazed that this was all done in Twine. I've written some Twine games and clearly still have a lot to learn about the possibilities of this engine.
To get through the first part, I ended up spamming all the options in every room until I found the right things. I could figure out what to give Miriam pretty well, but I wish I had saved my game before trying some things out. I didn't remember anyone's name. I rarely do, even when I'm reading a novel. Sorry Miriam! HOWEVER I really liked the idea of bringing her back to life by caring about the details of her life and noticing what she really liked and how she related to other people in her life. A+ concept, but execution fell a little short for me, an impatient player.
- Ola (Sweden), November 3, 2022
- Mr. Patient (Saint Paul, Minn.), October 24, 2022
8 of
8 people found the following review helpful:
Beautiful game about finding someone who has lost herself, October 22, 2022Abigail Corfman has made many high-quality games in the past, so I was excited to play this one.
This is a richly-illustrated Twine game, with black-and-white chiaroscuro images on one side and options on another. The game has background music and sound effects. The screen was too low-positioned for me to click on at first, but going to full-screen made it work better.
This is a combination story-focused and puzzle game. The idea is that a man, Anthony Lane, suspects that he has a wife but can't find her. You have to investigate the house to find out what's missing. Like another game in this comp, A Long Way to the Nearest Star, you have an inventory of thoughts and items that you can select from in each room, providing two-factor puzzles that make for a richer game.
The first half of the game had a lot of narrative momentum for me, with the puzzles being fairly light and forgiving. It bogged down a lot in the second half as it is possible to make irreversibly bad decisions.
But that made me have to think a lot. I had to really stop and imagine this person, what their life might be like. I continued to do poorly, even restarting. But I worked at it more and more. It was compelling to try to really thing about what their life was like, instead of what I wanted it to be like or assumed it would be like. It was like an exercise in empathy.
Overall, I think this is really well done. Love the art, too.
- Sobol (Russia), October 16, 2022
- Jacoder23, October 13, 2022
2 of
2 people found the following review helpful:
Haunting story with inventive gameplay, October 12, 2022This is a deeply affecting game that grabbed me from the beginning with an eerie atmosphere, and then continued to enthrall me with intriguing gameplay mechanics until the story reached a powerful conclusion. The game starts with a poetically stilted observation -- 'the sky over the garden is too bright' -- and slowly focuses and clarifies this thought into a moving realization about (Spoiler - click to show)a person, Miriam Lane, quietly suffering and struggling just out of the view of her family and friends.
The game starts with the player character questioning a man who seems to be suffering from amnesia or some other bout of forgetfulness. There's someone missing, something not quite right, and you're here to help him. From the start, the game is sparse and almost haunted -- the text is white on a black background and many scenes are accompanied by sketchy, high-contrast illustrations of the room or object that you're encountering. A soft, moody music is just enough to set the tone without becoming distracting. Given the unclear sense of the mission at first, and the eerie atmosphere, the game almost feels like a ghost hunt.
The game proceeds through a really interesting gameplay mechanic. The player character is equipped with certain observations/thoughts, and can apply these to different items or parts of the house to arrive at a heightened awareness of what's going on. (Spoiler - click to show)The unraveling of these insights in the bedroom is especially gripping: the player character sees small hints of a disturbed, unwell person, like half the bed being tidy and the other half being messy, a divot in that side of the mattress "as if something lay here in exactly the same position for a very long time." The more the player uncovers things that aren't quite right, the more the story clarifies and comes together, the answers being sought ambiguously between ethereal and corporeal.
The gameplay distinguishes this work from a typical Twine game. While clicking on links is the main mode of interaction, these links move the player around the space and enable them to interact with the environment. As such, the game plays more like a point-and-click adventure than an unfolding hypertext story. There are a couple other parts of the game that introduce other compelling innovations, too, like a flower plot in the garden, where the player can combine different attributes (color, amount of sun, shape of leaves and stems) to find different types of flowers. The concluding sequence, when the player (Spoiler - click to show)tells Miriam Lane her story to fully bring her back from absence, makes excellent use of cycling choices links. The gameplay, on the whole, integrates really closely with the theme of the game: the player needs to look carefully, read critically, and, above all, become attuned to small details to successfully find what they're looking for.
My only qualm with the game is that sometimes the next step or stage in the search can be a bit too unclear. (Spoiler - click to show)In the second part of the game, when the player is giving Miriam Lane objects to revive her, there is some negative feedback for incorrect objects that's helpful; but in the first part of the game, the player could apply thoughts to pretty much everything in the house without any penalty or without much guidance. Searching through the flower plots, while a really cool feature, can also become aimless, as there's not a great way to know if you've recovered everything there is to find from the garden.
Despite a few places that can snag the player a bit, the game provides a relatively tight, well-constructed experience that moves from an eerie ghost hunt to something far more real and far more troubling.
- Greg Frost (Seattle, Washington), October 11, 2022
1 of
1 people found the following review helpful:
The Mystery Unfolds..., October 5, 2022Somewhat of a mystery, this game has the player exploring around for clues. However, there is more going on than a run-of-the-mill mystery. It took me a little extra time to put together what I should probably be doing, and I think that might have cost me: I ended up failing my first playthrough. However, I can't wait to try it again. I like the puzzles and mechanics; the Twine format makes it very easy to navigate and retrace your steps when you realize there is something else you can try. Recommended.
- Titania Lowe, October 4, 2022
6 of
6 people found the following review helpful:
Seemingly gone, name forgotten. But maybe there’s hope., October 2, 2022You are contacted by a man, Mr. Lane, who explains that his wife is missing. For some reason, no one can remember her name. With more questions than answers, you set out to explore the couple’s house to find a seemingly nameless woman.
Note: Obviously, the player already knows the woman’s name. Miriam Lane. It is in the game’s title. Because of this I will openly use her name in this review without tagging it as a spoiler. But uncovering her name in the game to reach the protagonist’s objective requires some work.
Gameplay
This is a longer Twine game. It feels like there are two halves of gameplay. The first is to (Spoiler - click to show) find Miriam while the second is to revive her to the waking world.
In the first half, the player searches the house for abnormal clues to build an understanding about Miriam's living situation. For the most part, this uses a “you can look but not touch” philosophy as you explore. The main mechanic is to use a list of thoughts that are automatically assembled and testing them in areas that seem relevant. It did feel, at times, a bit stagnant when you lose track of where you should look for clues. You end up going over the list for every possible location until you find something that sticks. A strong point (see below) is that it at least keeps track of which prompts you have already used.
Choose a thought:
Light and shadow is acting strangely. / tried
This is unnaturally aged or faded. / tried
There's something here that I can't see.
At the bottom of the screen is a progress bar that measures your “awareness” level. Once the bar is full, (Spoiler - click to show) you discover that she is lying on the bedroom bed in a somewhat comatose state. However, you can only see her silhouette. Your job is not over yet.
The second half of the gameplay is about (Spoiler - click to show) reviving her identity through personal mementos found in the house and recovering her name. Here, the game gives you more freedom to interact with objects. It retains some of the function from the first half, but its application of mechanics is narrowed down. You focus on (Spoiler - click to show) finding meaningful objects. However, the wrong objects can detract from Miriam’s recovery. Things that seem helpful may cause the opposite effect. I found this part to be more challenging to complete but more immersive in its story.
Generally, the puzzles were interesting and creative. My favorite was the flower puzzle where you (Spoiler - click to show) read about flowers and match their descriptions in the flower bed to locate them. It faintly reminded me of Ghosts Within which has themes about flowers and their symbolism. It too features a puzzle involving a guidebook. Another great thing about this game is that uses free range of movement that lets you explore the house and fiddle about with objects within, sharing some attributes with a parser format. Great example of a puzzle-oriented Twine game.
Story
At the end of the game (unless you lost prematurely), you are (Spoiler - click to show) presented with some sentences about her life. Some words in these sentences consist of links that you click on to change them. The goal is to use what you learned from the gameplay to piece together her life. There are multiple endings. (Spoiler - click to show) You do not have to get the answers right 100% to reach a positive ending but every word change has an impact.
As the game progressed it becomes clearer that the (Spoiler - click to show) story is not so much about finding a missing person in the literal sense but recovering a personality that had fallen to the wayside. The game does not end when you find her. It ends when you learn her name and affirm the things she loves. The name is the focal point. And with that comes identity.
Characters
There is not too much about the protagonist, Jane. The player can identify themselves as an investigator, researcher, or someone who just wants to help, but Jane is given only a few characteristics, although the game is in first person. She seems to have an affinity for, if not paranormal, the bizarre and unexplainable. I thought that she was going to have more of an occult-oriented profession, but the game only dips its toes this subject. It keeps things subtle which carries its own charm.
There are few NPCs. Only (Spoiler - click to show) Mr. Lane. Miriam as well, but she is unresponsive for most of the game. We learn about her through her home. You nitpick at everything. It is almost like using a lens and zooming in. You examine the sewing room, then the cork board on the wall, and if you look closer there is the (Spoiler - click to show) hidden bird sketch. That bird sketch is a possession with fond memories but it, just like Miriam’s interests, have been overshadowed by obligations in her life.
Visuals
The game sticks to a black and white colour scheme. Black background, white text, and snazzy black and white graphics. Each location has its own artwork, many having more than one. All of this creates a surreal feel. It does mingle with other visual effects such as a change of font for handwriting without diverting from this theme.
Design wise, the game strives to be user friendly. It has links at the bottom of the page that, when clicked on, result in popup boxes containing the player’s thoughts, inventory, and notes. This was nice since you do not have to flip to a different screen every time you feel like viewing this content. For a Twine game with lots of puzzles this was extremely helpful.
Final thoughts
I have been a huge fan of Abigail Corfman's games for a while. The complexity possible in a Twine game seem to be elevated to the next level whenever I play her games. The Absence of Miriam Lane still has the familiar features found in her work. Free range of movement, unique and stylized use of puzzles (such as the flower puzzle), and a complex character-oriented story.
Based on what I have seen, I think this game will do well in the Comp. Speaking of which… this is the first game I have played for this Comp, and I am thrilled! Have you ever been in an art class where the teacher shows you a rainbow of bright and colourful craft paper that look so appealing you do not know which one to pick first? That is how I feel right now.
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