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Review
Adapted from an IFCOMP22 Review
I am a big horror movie nerd, and marrying deep genre love to a reality show setting? We’re firmly in catnip territory here.
Billy’s informal writing voice perfectly capitalized on my goodwill. They adopted a confident, playful and straightforward tone that quickly sucked me into this goofy world with a time-honored genre trope, deftly executed. Throughout the game there are just enough winks to keep the wry feel, but not so dense that they erode the narrative tension. It was a nice and consistent tone achievement. I also admired that a broad range of human gender and sexuality seemed to be accommodated in NPC casting and player choices, and done so organically and naturally. (At least for the choices I made)
The playful voice is most evident when engaging the NPC contestants. They are a varying mix of familiar archetypes and archetype subversions. I think this is a crucial choice actually, as the cast is somewhat large and all introduced at once. Without an initial archetype hook it would be impossible to keep them all in your head. I wouldn’t say any of them are truly 3- dimensional but the story doesn’t need them to be. Really the story only needs 1 dimension and still delivers between 1 1/2 to 2 1/2 depending on character.
Billy’s menu-based interactions were also well done. Which is good, as it is the driving mechanism of the game. When I encounter this system in video games it is rare that I don’t chafe under the constraints of responses and reactions I want to give, but the author has failed to accommodate. Or worse, cues that suggest a response I want to make but instead deliver something I NEVER intended when clicked. Blood Island menu cues are refreshingly concise and clear, and at least for me, never betrayed expectations. It feels ungenerous (in a way Blood Island never is) to quibble that missing responses did crop up. I mean it as a compliment when I say this was infrequent enough that it felt jarring when it happened, as my expectations had been consistently raised and met. It was those relatively few times that caused me to “Mostly Seamless” it. Too, the game’s responses to player choices were smoothly integrated into text blocks, both in format and voice, with none of the jarring “<<CHAR_NAME>> heard your answer and is <<CHAR_EMOTION>> at you.”
I won’t talk about the plot, obvi, except to say that it embraces deconstructionist horror ala Scream/Leslie Vernon/Final Girls (the movie) and integrates Final Girl (the trope) critical commentary in an engaging if not completely organic way. At least for me. This is totally my jam. I could see where someone less taken with the source inspiration might find the commentary clunkily intrusive. Let them write their own review, I dug it!
It was also noteworthy that the setpieces had propulsive urgency, twists and shocks and strong feeling of stakes in them, as the best of its inspirations do. Is there an M Night Shyamalan “oh snap no way!” moment? No. But there are heaping helpings of “yeah you did!” smiles and fist pumps. It is an old saw that horror/comedies only elevate when they succeed equally in both. If I assume that would also apply to reality/meta commentaries, Billy is tackling all FOUR of those. They succeed with a thoroughly winning light, wry and generous touch.
Played: 10/4/22
Playtime: 1.5hrs, finished
Artistic/Technical rankings: Engaging/Mostly Seamless
Would Play Again? Definitely! So much comfort food.
Artistic scale: Bouncy, Mechanical, Sparks of Joy, Engaging, Transcendent
Technical scale: Unplayable, Intrusive, Notable (Bugginess), Mostly Seamless, Seamless
