The Long Kill

Adapted from an IFCOMP23 Review

Reading the title, I immediately assumed I was in for a black and white hard-boiled mystery joint. I was mildly chuffed when I realized it was not that. Surely the implications of a title with a punch like that were invoked on purpose? Suffice to say that though noir-less, the title is firmly justified by the end of the work.

This is a lightly interactive novel. Or maybe more than lightly, it is hard to tell, which is mostly a compliment. It took me a while to synch with the rhythm of this prose. The first scene wrong-footed me a little, when the protagonist seemed to respond to banter that was not as amusing as it purported to be. They were obviously in a different place than I was, and the disconnect was distancing. I think though that the key choice that reversed this was the choice to abstract the protagonist’s dialogue. Rather than hear the protagonist’s ‘voice,’ we are only ever informed what was said via narration. We ‘hear’ every other voice, but only absorb the content of the main character’s dialogue. It is a powerful way not only to remove barriers between us and the protagonist, where phrasing may jar or push, but to subtly encourage our own voice to creep in behind the text.

I am not sure if the writing shifted gears after that first scene, or if I just adjusted, but either way notwithstanding infrequent burrs I mostly got on board with the narrative after that.

The setup is a time jumping narrative of an army sniper’s life, showcasing their life’s arc before, during and after a harrowing service in Afghanistan. It is overwhelmingly linear. I counted three choices that felt consequential in the moment over its runtime, with maybe four times that overall. After the final scene though, I have to wonder. Certainly the preamble and blurb to the story suggest many different ending possibilities and I am at a loss to figure out what choices would have led to different outcomes. If true, this is really subtle writing! Every choice I made felt almost inevitable, and organically reflected in subsequent events. If it was truly a branching narrative, getting it THAT right on my specific path was pretty admirable.

I particularly appreciated moments of LACK of choice, in Afghanistan in particular. Offering true choice in some situations would likely betray the setup and reality of the piece in destructive ways. Further, I felt the time jumps were ably managed - it was typically quite clear when I was within a sentence or two even before the date/location headers were established in my head. The narrative overall built steam, brought me into its rhythms and was compelling to read.

All of these were Sparks of Joy to be sure, some developed slowly over time which is kind of at war with the Sparks metaphor I’m using but whatever. I would say two things held me at remove, ultimately. The first was the ending I got. It was a beach scene where (Spoiler - click to show)the protagonist threw his phone in the ocean. Despite the previous 50 minutes, I had no idea why we were doing that. Only to find that that was the Big Finish! It left me perplexed, though somehow didn’t render the story pointless. Just unclosed. Did the text somehow misfire on my choice path? Maybe that was the intended effect? Ok, but that final action was not needed for that effect! Why was it there???

The second was that of the three time periods portrayed, the early years percolated with promise and dramatic tension. The wartime scenes positively crackled. The post-war scenes fell flat to me. Their purpose and resonance eluded me. Again, maybe lack of resonance WAS the point, but… that feels like it kind of denied the impact of the war? The protagonist felt aimless to start with, submitting to their father’s priorities irrespective of their own. The war was horrific and impactful, and afterwards the protagonist kind of … stayed aimless just without the push? Made more so? I can’t tell how much of that was my choices vs authorial dictate. Again, this is to the author’s credit. But with a story this long, with so few actual choices to make, maybe a heavier authorial hand is warranted? It is long enough and linear enough a narrative (which is kind of a wild thing to say about a time jump structured story) that I don’t think I want to retry, which in some sense speaks to not breaching into full Engaging for me. Really Seamless integration of choices though.

Played: 10/16/23
Playtime: 50min, finished
Artistic/Technical ratings: Sparks of Joy, Seamless
Would Play After Comp?: No, my experience is complete, and bar to creating another feels high


Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless