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An occasionally-wonky thin-mint-stery (am I doing this right?), December 15, 2023(This is a lightly-edited version of a review I posted to the IntFiction forums during 2023's IFComp).
I feel like there are a larger-than-usual number of sequels in this year’s Comp, and this is probably the most unexpected of them. Last year’s Who Shot Gum E. Bear? was an fun but slight whodunnit that mashed up hard-boiled narration with hard-candy characters; it wrung some solid laughs out of its off-the-wall premise, but gave every sign of being a one-off joke. So when I saw that Bubble Gumshoe had another case, part of me wondered whether the gag would have gone stale. Fortunately the answer is no; Mayor McFreeze still entertains by leaning into its Candyland-gone-bad setting, and changes up the gameplay formula by swapping more traditional IF puzzles for Gum E. Bear’s focus on interviewing suspects.
The plot this time out is a mystery cliché, but a different one from the straightforward who-killed-the-dead-guy hook of the previous installment: the mayor’s femme-fatale wife walks through the door of your office and asks you to check in on him, as she learned he was lured to a meeting with a notorious crime-boss at an abandoned factory on the wrong side of town. But when you go to investigate, you get locked in, and turns out the factory is due for demolition in the morning – you’ve got to escape, and hopefully solve the crime along the way.
My memory of the previous game is that the comedy came largely from one-liners and delicious puns, and those are still in evidence this time out, but I got the most enjoyment from the places where the author really leaned into the absurdity of the game’s world, piling joke upon joke without once cracking a smile:
"The docks once saw fleets of ships coming in full of raw sugar, and leaving full of premium saltwater taffy. But the pollution from Sugar City’s industrial district has given the cola here an extra kick: the extra maintenance costs involved in shoring up the ships’ dissolving hulls put the factory into the red, and when the Good Ship Lollipop foundered right in the middle of the channel - blocking access to all other vessels - that was the final marshmallow in the s’more."
This kind of scene-setting calms down a bit once you reach the main part of the gameplay, but there are still plenty of good lines slipped in even once things get serious, and the endling features a delightful escalation of noir cliches and dessert-based investigative techniques, again all played entirely straight.
I also thought the gameplay structure here was cleverly done. There are basically two tracks the player needs to work through: to escape the factory, you need to solve a series of fairly conventional medium-dry-goods puzzles that are primarily about traversal. But along the way, you’ll also have the opportunity to find and investigate some clues about the titular crime; these aren’t puzzles per se, but the game tracks which ones you’ve found, and then changes the ending based on the information you’ve gathered. This is an elegant way of representing a mystery in IF form – conversing with NPCs is obviously challenging to do in a satisfying way, and requiring the player to demonstrate they’ve figured out the solution can often be tricky, since it’s easy to make things either too easy (most genre-aware players will guess the identity of the bad guy pretty quickly) or too hard (since spelling out the exact way all the clues fit together represents an interface challenge, and may require information the protagonist has but the player doesn’t). And allowing the player to get to the end without solving the mystery helps provide a hint about what they missed, so they can go back and try to do better.
The implementation sadly lets the comedic tone and elegant structure down, though. There aren’t a lot of alternate syntaxes provided, and Inform’s default responses largely haven’t been changed, so I spent a lot of time fighting with the parser and hearing Graham Nelson’s drily amused voice chastising me, which took me out of the world (tip to authors: it only takes fifteen minutes or so to customize the most commonly-used responses, and this goes a very long way to making your game feel polished and unique). There’s a point where I needed to untie a piece of cord from a door, and TAKE CORD, UNTIE CORD, and DETACH CORD were all unsuccessful, with only TAKE DOOR working – which was odd, since I needed the cord, not the door! There are also several things that look like containers that you can’t put anything in, a fair number of disambiguation issues, and long location descriptions that are presented as single unbroken blocks of text.
Beyond the technical aspects of implementation, I also found a fair number of the puzzles required a higher amount of authorial-ESP than I’d like, and solutions sometimes relied on what felt to me like dodgy logic. Like speaking of that guess-the-verb issue I mentioned above, one puzzle requires you to rip a metal door off its hinges using detonator cord, which from my understanding is made of plastic and quite thin, so I wouldn’t have thought it would be up to the challenge. Conversely, I had to go to the hints because I wasn’t sure how to get through this door:
"A cheap, stained wooden door, badly warped by damp. There’s a small keyhole just beneath the brass handle."
Turns out it’s sufficiently fragile that throwing a heavy object into it will break it, but I don’t think that description adequately signposted that brute force would be a solution here (the fact that the keyhole is a separately-implemented object also seems designed to mislead the player).
The investigative track I think is a bit more intuitive than the puzzle track, though again there were places where a bit more hand-holding would have been appreciated, especially where world-building details that might be lost on the player are at issue ([spoiler]I’m thinking here mostly of the need to TASTE various objects, most importantly the dead body, which feels like an egregious violation of crime scene protocol as well as slightly cannibalistic).
As is my wont, I’m harping on details, but it really just is the details that are the issue here; the writing, story, and general design are quite strong, unlike the funny but sometimes-dodgy Gum E. Bear (I solved that one by accusing suspects at random, which I think was a common experience for players). Despite its sometimes-thin implementation and inadequate clueing, Mayor McFreeze represents a real progression; dare I wonder whether we’ll see a completed trilogy next year?