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1-5 of 52 of
2 people found the following review helpful:
The Ferris Wheel goes Round and Round..., January 5, 2024
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A XYZZY award for Best Setting and several nominations in other categories for an author otherwise unheard of? Intriguing, but in no way unique. Still, worth a bit of sleuthing...
Keanhid Connor... It does have a familiar ring to it, no? Juggling the letters around gives us, among a list of other rather amusing possibilities, none other than Hanon Ondricek! A quick click of the author's name in the end credits confirms this by unscrambling the letters.
1) Structure and relations:
Cannery Vale is an interactive experience consisting of multiple layers of reality. While I was sitting in front of my computer screen actively playing, I was deeply engaged with the twisting and turning story, clicking links and options to see what would be the result.
Most of my time away from the game however was spent thinking about how this thing actually fit together. I found myself analyzing the ins and outs, the different levels of agency, the way the influences of the various real and imaginary characters intersected and clicked into each other. Allow me a moment to try and untangle my thoughts.
-Our clever sleuthing has uncovered that Hanon Ondricek wrote Cannery Vale under the pseudonym of Keanhid Connor. A first obvious, albeit mostly inconsequential, layer of fictionalisation and obfuscation.
-Keanhid Connor (let us assume the reality of this personage, if only for entertainment value) has written the game software. It defines the outer limits of the work. All the different story elements and how they affect each other, the characters, the plot-twists, the overarching structure. The entire collection of potential events lies in wait in this piece of software.
-Inside the IF-piece, we come upon a layer of "Real": A writer (let's call him Inkhorn O.D. Cane) has secluded himself from all distractions in a hotel room. This, he hopes, will help him in finally finishing his novel. This fictional writer introduces characters and landmarks, writes and deletes events, activates possibilities and enforces boundaries for the protagonist to act upon. In general, Inkhorn O.D. Cane tweaks the setting in the hopes of finding a breakthrough to bring his novel to a satisfactory ending.
-Underneath this, we encounter a layer of "Fictional": The novel's main character (One Nick Hardon, if you will) is set loose in the setting created during the most recent writing session, free to poke and flail around. He is not under the conscious control of the writer, who experiences these sequences only through dreams while napping. Often One Nick Hardon escapes or derails the forward progression of the plot to get lost in pointless activities or hurl himself into unforeseen deathtraps. These pointless exploratory shenanigans and dead-ends are necessary feedback for the writer to get a grasp of behaviour and mutual influence of setting and protagonist.
-Finally, of course, we come full circle back to our out-of-game reality: The player (S. Von Rasor, in this instance) sits in front of his computer screen and interacts with the IF-piece. He engages with the game at multiple levels:
a) During the writing stage, he steers Inkhorn O.D. Cane in creating the setting, opening and closing options and pathways to take advantage of inside the world of the novel.
b) During the novel stage, he inhabits One Nick Hardon while exploring the most recent iteration of the setting in detail, looking for ways to get further in the narrative. Much like the protagonist himself, the player is flying blind here, especially for the first half of the game.
Ultimately, the player is looking for a Win-condition.
S. Von Rasor does this by taking control of both the writer's conscious decisions about setting and plot and the subconscious investigation of the consequences of the writer's choices as the protagonist in the dream-sequences. The fact that the two sets of circumstances do not easily flow into one another is exemplified in Inkhorn O.D. Cane's frequent complaints about One Nick Hardon's taking the narrative into his own hands (and dying for the twelfth time...)
2) Gameplay:
When disregarding the story content and looking at the form of the game, Cannery Vale very much resembles an elaborate puzzlebox where actions on one end have causally related consequences on the other end, sometimes predictable, sometimes unexpected. In fact, I was often reminded of games like Chasm, Archipelago, or Myst. Pulling a lever, pressing a button, entering a combination makes something happen in a distant location, and it's necessary to investigate the game-world to find out exactly what has changed.
Here, the writing stage consists of flipping switches, quite randomly at first, to make things happen in the novel-world. Investigating these changes requires slipping into the novel's protagonist and descending into Inkhorn O.D. Cane's imagination through his dreams.
Interestingly, and in keeping with the writing process, One Nick Hardon's actions in the novel feed back into the conscious mind of the writer, resulting in more switches to flip to tweak the setting in subsequent iterations of the loop.
This last observation is related to another characteristic of the game. It has a similarity to that genre of games where the player controls doppelgänger PCs, or parallel-universe twins, where the actions of one in their domain/time help the other progress. On various levels of reality in Cannery Vale, characters have the power to cooperate with (or work against) eachother/themselves.
-Above, I have described the mutual feedback loop between Inkhorn O.D. Cane and One Nick Hardon, wherein writer and protagonist work together towards further understanding and exploration of the novel's narrative. From another viewpoint one could say that the writer does a bunch of preparation and then trusts his subconscious to bring the story to life and feel out the details, meaning that the writer is cooperating with himself.
-One Nick Hardon works together with other iterations of himself. Some objects or pathways are only accessible with certain narrative passages turned on or off, while later in the story those same passages need to be the other way around. Therefore, the protagonist must explore the world in one loop to acquire a cetain objective, which then is remembered and passed on to his next incarnation in the following loop, even though the passage which made that objective possible has now been closed off.
-S. Von Rasor, too, is cooperating with himself. Through the actions of both incarnations he controls in both layers of the game-reality, and the repetition with variations throughout the writing loop, he aligns Inkhorn O.D. Cane's and One Nick Hardon's choices with his goal: getting further in the game, seeing more of the story, approacing closer and closer to the Win-condition.
-(And let's not forget to tip our hat to Keanhid Connor, who made this all possible with his creation of the universe.)
3) Game/Story:
Despite my abstract comparison to mechanical puzzleboxes, Cannery Vale offers a deeply meaningful narrative experience once you drop down into its world and become involved in the story.
An unnamed man suffering from adventure-induced amnesia (a fact humorously lampshaded by the writer), regains consciousness on a deserted beach. His search for himself leads him to the end of the road, the top of the island. On his way, he must overcome obstacles, convince others to help him, escape dangers. Pretty archetypal, right? Maybe even a bit (IF-)cliché?
Well that's the point. Here lies the brilliance of the layers, the writer/novel framework. The player engages with both the writer-persona and the novel-protagonist to shape this archetypal narrative template into an interesting story full of discrete, personal events.
Once the form of this story starts to come forward, within the boundaries set by Keanhid Connor, it's an exciting, surprising, sometimes scary mystery. Threatening atmosphere lightened by funny and romantic moments, detailed conversations with believable characters, a bunch of rather explicit sex-stuff, a naturally flowing progression of events to their inevitable conclusion.
Inevitable conclusion?
I have to admit, I don't know. It felt like it when I finished, an organic whole with a natural flow.
As I only played through once, though, there are certainly many secrets and pathways I did not see, corners and roads I did not fully explore. That probably means there are many more endings, and certainly more ways to reach an ending, than I experienced.
The ending I did experience was fulfilling, sad, enlightening, thought-provoking. Much like the feedback-centered mechanics of the game, the story twisted back onto itself, spitting me out where I started. Not in any way does this take away from the insight I gained along the way though.
I felt emotionally drained and refilled, newly aware of the circle of losing and loving, having and giving.
Very strong.
3 of
3 people found the following review helpful:
One of my favorite horror IFs, October 20, 2022by Cerfeuil (*Teleports Behind You* Nothing Personnel, Kid) Played this one a while ago and can't stop thinking about it. Didn't expect much from the description, but the start is immediately engaging with its wonderful design, both in sound and appearance, and the 'you wake up amnesiac' plot hook (an oldie but goodie). Then the moment you think you've found your footing, it pulls you out into the Lovecraft Inn, and then.... I'll admit the system of switching between fiction and reality is a little jank, and there are some quirks of the game's behavior that I'm not sure are intentional. For example, (Spoiler - click to show)you can sell the suitcase, then ride the ferris wheel to get it back. (I also don't know what the suitcase was supposed to do, think I sold it then left the story so I couldn't get on the ferris wheel again. Whoops.) Is that a glitch? The game never tells you how everything is supposed to work—it would ruin the fun, after all—so I have no idea.
But generally speaking: As I learned to play the system, switching between hotel and story to shift things on both ends, I got more and more into it. So many satisfying parallels between fiction and reality, and the weird details thrown in there are excellently creepy. Especially the carnival. Sh*t gets wack, yo. And the ending is excellent.
Great sense of place, uncanny aesthetic (as befitting the name!), clever writing and puzzles. Didn't even notice the Dante's Inferno allusions until I saw one of the other reviews pointing it out.
6 of
7 people found the following review helpful:
Find Yourself in - Canneryvale, October 8, 2020I enjoyed Cannery Vale immensely. The structure of this IF is extraordinary. It plays much like a Twine story, in which the player selects different phrases and are rewarded with either expository material or an experience. What I enjoyed most about it was the (Spoiler - click to show)extremely clever use of the author state, dreams, and the protagonist state to carry along the storyline. It never felt tedious switching from the hotel room to the novel, and I found the ability to change outcomes by choosing to 'write' in different plot points was really fun and masterfully executed. Even though you can theoretically finish this game very quickly, it is a game I enjoyed spending several hours in, exploring all that it had to offer(Spoiler - click to show) You absolutely can achieve all the 'good' and 'bad' endings if you want without ever experiencing the orgiastic carnival rave, the suspicious meatpacking plant, the gorgon chained to a bed. But why the hell would you want to miss out on that? Another really excellent element of this game is the fact that it provided an extremely rewarding and forgiving world to explore. I am often hesitant to start an IF because I'm worried that I'll lose my grasp on the world that is constructed as I play, but having the storyline grounded in this (Spoiler - click to show)recursive return to the author's hotel room helped me maintain my bearings. Also, kudos to the author for including the option to decrease or increase the level of explicit scenes as well as offering the player the ability to quickly explore all of the endings (provided you've managed to successfully acquire all the prerequisite items).
7 of
7 people found the following review helpful:
Haunting, layered work that worms its way into your head, November 25, 2018Playing Cannery Vale is like putting together a jigsaw puzzle without the box top, where each new piece you place makes you realize that the picture in your head is wrong - and so you must rethink how you view the entire game.
You start out playing as a man who drowns, and then the game yanks you back: No, you're not drowning. You're an author reading through a draft of his novel, and he's only gotten up to the point where the man is drowning. These two scenes encapsulate the gameplay: You toggle back and forth between playing as the author and as the main character in the author's novel. As the author, you keep rewriting what you've written so far. You also explore the hotel (TheLovecraftInn) where you're staying and interact with the somewhat odd but eager-to-please innkeeper. As the main character in the novel, you effectively live out the author's latest draft, but your actions also create new storylines for the author to try. It's a very clever game mechanic, although I confess it took me a little while - probably longer than it should have - to realize exactly what was going on.
Some of your actions in the inn (as the author) also parallel what happens in the novel. On example: (Spoiler - click to show)Losing my finger in the police station as the character in the novel and having my finger injured in the mousetrap as the author. This is part of what writing is all about, of course, but in Cannery Vale you experience it from both inside and outside the story.
The game is self-aware in places. At one point I thought I had found a bug: I clicked on an option, and I got a "passage not found" error. But then I went down to the lobby (as the author) and discovered that one of my dialogue options with the innkeeper was to ask about the "passage not found" error!
Near the end of the game the two storylines begin to merge, and the character in the novel gains the ability to affect the author's life directly. I'll leave it to other players to find out how, exactly.
There's a lot of provocative imagery going on here - (Spoiler - click to show)the couples who are murdered in the haunted house tour, only to reappear later unscathed but with different personalities; meeting Medusa in the apartment of the woman I hooked up with and being turned to stone; my finger healing miraculously; the Poe-themed inn being turned into a Lovecraft-themed-inn; working in a meat-canning plant that is clearly using human body parts... to name just a few things.
I had wondered if the game might reference Steinbeck's Cannery Row, but if there were any such references I didn't catch them. It does, however, allude strongly to Dante's Divine Comedy. (Spoiler - click to show)At the end, you realize that the town is actually built like the mountain of Purgatory, and so the character in the novel is working his way up and thus out of Purgatory, just like Dante does in The Divine Comedy's second book. However, unlike in Purgatorio, it's not the earthly paradise that awaits the main character at the top of the mountain. Also, depending on the author's choices, the author escapes the innkeeper-as-Satan and must climb his way out of hell, using language that sounds almost straight out of Dante: "wailing hypocrites serving as footholds, detouring through freezing waterfalls and waist-deep rushing pools past broken mansions..." Then, at the very end, the author's Beatrice helps him with the last bit of his escape from hell.
The game's blurb hints at the Dante theme - it's not obvious, but once you know it's there it's hard to miss. Also, try entering the names of various famous authors as your pseudonym. This reviewer found several that produced a quote from that author - most having to do with hell.
On a technical note, I found the visual "feel" of the game to be strong - particularly the changing colors of the sidebar image as you progress through the game. Also, the audio is excellent - both the sound effects and the background music greatly enhance the playing experience. The author clearly put a lot of work into the audio and visuals.
Cannery Vale is an impressive game with a lot going on. I have continued thinking about it, even though I played it over a month ago.
6 of
6 people found the following review helpful:
An amazing Stephen King-like twisted self-referential tale, November 17, 2018I played this game early on in the competition. It was late at night, and I was listening to sad music on my phone.
This was the perfect game. A strange tale about a writer trying to get past writer's block (self-referential art has always impressed me), taking place both in the real world and in the author's book (I love dual world games), with both text entry and choice, this game absolutely impressed me.
I have to warn that the game is extremely explicit, and I played almost entirely on the least explicit level.
The game constantly pulled out surprises, and is big enough to feel like a real, living world. Just like in the real writing process, scenes and characters are written and rewritten, in and out of the game. Decisions are reversible. There's even an inventory and an economy!
I think some people might have bounced off of this because of length, but now that the competition is over, this is one I strongly recommend. This is going on my all-time top 10 list, was my favorite IFComp game, and is definitely getting my vote for XYZZY Best Game!
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