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by Tim White


Web Site

(based on 8 ratings)
2 reviews

About the Story

What comets may come

Game Details


Audience Choice--Best NPC, Most Poetic, Main Festival - Spring Thing 2021


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Number of Reviews: 2
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6 of 6 people found the following review helpful:
A short scientific fiction puzzle game in Twine, April 2, 2021
by MathBrush
Related reviews: 15-30 minutes

This is a charming little game, partly poetic and partly puzzle.

You are an alien on your home planet and a creature has crash landed. There are 4-5 different locations you can go, each of which allows you to sleep and look around.

Time passes, and it's important to the game. Some events only occur on certain days. There is a nice graphical change when this happens.

The puzzle involves doing the right thing at the right place, and requires a fair amount of travel.

Unfortunately, this game makes the crucial mistake of combining slow text with gameplay requiring repetition. This means that if you need to check a location really quick, you have to wait several seconds to travel there, several seconds to click on a link, and several seconds to click back. If I were the author, I'd update the game to remove the pauses, as I've never seen a review praise slow text in games and many against.

But as it is, this was fun. The puzzle is simple but satisfying, and I enjoyed the ending.

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5 of 5 people found the following review helpful:
Not for the impatient, April 11, 2021
by Mike Russo (Los Angeles)
Related reviews: Spring Thing 2021

Perihelion is a well-done game that I admired more than enjoyed. It’s got a compelling, hypercompressed and occasionally poetic prose style that’s really well done, and the aesthetic pleasure is compounded by some neat color-gradient backdrops that do double-duty to indicate time of day. The setting is an elliptically-described alien world with awesome vistas to explore, and there a few gentle puzzles that help give the player some direction in what’s otherwise a fairly abstract story space. Unfortunately, I found my appreciation of it to be held back by the game’s occupying an uncanny valley between the abstract and the literal, and by its overuse of an awful timed-text mechanic.

The opening and closing are the strongest parts of Perihelion. In the beginning, you (some kind of alien – (Spoiler - click to show)I think a sort of air-elemental?) witness a comet breaking up and ejecting a (different) alien, in a sequence that’s compellingly written and prompts you to come up with adjectives to describe how you perceive the novel form of this interloper into your world. In the ending, the viewpoint shifts to that of the interloper, who describes what they’ve experienced and recontextualizes the events of the game.

In the middle sections, you guide the first alien as you decide to help the second – OK, look, this is getting unwieldy, I’m going to call the first alien “Fred” and the second one “Sam”, OK? – you guide Fred as you decide to help Sam return to the stars. Or at least, you decide to do that if unlike me you head first to the Mausoleum-Museum to chat with Sam, rather than saving it for last – I spent much of the middle section wandering around unsure of what I was supposed to be doing, and in retrospect wish the game had opened up free navigation only after the initial sequence with Sam imparted some direction.

Getting Sam spaceborne again involves going to three different locations on Fred’s planet and accomplishing a series of small tasks. These are barely puzzles – you’ll go to an observatory and be told that it’s cloudy, so you need to wait until it clears up, or try to slip into a guarded location and be told you need to do that on a weekend night. Once you’re past these barriers, there’s only one option to take in the different locations (except with the (Spoiler - click to show)lava, where you can choose to do a kinda-risky thing or a stupidly-risky thing), so it’s a quick matter to do everything you need to do.

Or at least, it should be a quick matter. The overwhelmingly worst part of Perihelion is that much of the text is timed. When you move from one area to another, there’s about a five second lag. When you sleep, there’s a similar pause before time resumes and you can act again. This is frustrating enough on its own, but when making progress meant waiting around for half a week to be able to access one of the locations, I wound up alt-tabbing to read Twitter to kill time during the delays, which really reduced my enjoyment and immersion in the story. I’m not a blanket no-timed-text person – I think there are times when, if used sparingly, it can emphasize a really critical point in a game – but its use here is just awful.

My other critique is a little harder to pin down, but I wished Perihelion had committed a little harder to either being an abstract art-game, or a more grounded space-adventure instead. It sits in an awkward middle where key pieces of the situation are under- or un-explained, just alluded to through obscure allusions and complex language, but the player’s primary engagement is still a more traditional model of traveling around a map and solving puzzles. The puzzle-solving is undermined by the player’s weak grasp on what they’re trying to accomplish in each location (I still don’t think I could really explain what Fred actually did to help Sam, on a literal level), and my engagement with the rich, dreamlike language was undermined by having to shuffle back and forth trying to circumvent obstacles. As a result, even though I really liked pretty much every individual part of Perihelion other than the timed text, I don’t think it made as much of an impression on me as it deserved to.

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Perihelion on IFDB

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