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About the Story
The Chalice of Destiny shines before you. Claim it and you will liberate your people from "the evil" wizard Malvox. It's really a pretty straightforward affair. You can jump in, save the world, and get on with your other business pretty quick. Oh, wait! The goblin! I almost forgot to mention the goblin. He guards the Chalice of Destiny. You are going to have to decide how deal with him. That might slow things down a bit depending on how you decisive you are. Aaaaand, I should probably add that there are over 60 possible outcomes. Most of them are not very pleasant. I'm rooting for you, though!
24th Place - 23rd Annual Interactive Fiction Competition (2017)
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This is a short Twine game where there are many branches (around 60 endings), but each play through is very short.
There is no distinctive CSS styling, but the game is written in a consistent voice.
I downloaded the file and opened it up in Twinery to see the code, and I think I know what happened with the development of this game. It seems to be a classic case of "What's fun for the author isn't what's fun for the player."
The Twine code is lovingly organized and garnished, with little extras here and there, either private jokes or Easter eggs for code-readers. The code branches all over, and has little Easter egg chunks like a map of the author's house, a little section on self-harm, asides, the chance to fight the narrator, etc.
The problem with this structure is that the player never sees it. As is common in this author-centered style, the cool content is hidden in branches the player is unlikely to take. The most normal branches are the shortest and the most straightforward. An author tends to think, 'Ah-ha! The player will try the first few branches, realize that something is off, and try the elaborate branches!'
But what tends to happen is, the player thinks, 'I've seen a lot of short, under implemented fantasy twine games. I've played through twice, and that's what this seems like, so I'm out of here', never seeing what lies beneath.
Another issue is that, because each play through is so short, most of the work is on content the player will never see. Cat Manning had the same issue with Crossroads in the 2015 IFComp, and later worked to retool her style with Invasion, which had longer playthroughs.
So, this is a lovingly-crafted, well-written game, but if you want to see all of it, you need to put in a lot of work.