SOUND

(A version of this review first appeared in my blog during IFComp 2020.)

SOUND is sufficiently small (for me, a few minutes per play) that my whole review amounts to a spoiler:

In the text-on-black Twine SOUND a woman known as Orange seeks treatment for her stutter and communication problems from one Doctor Thee. The doctor is a sailing champion and island dweller. An island is the venue for the therapy. The prose follows a conversation between Orange and the doctor in which neither is necessarily the point-of-view character. I was interested to note I identified, functionally, with the doctor, just because the doctor was the interrogator, but technically the links that change the progression through the conversation can fall to either character.

There is something a bit cute about the dialogue and the situation. Orange's anecdotes of work difficulties are realistic but the actual prose isn't quite. It reminded me of serious-leaning dialogue delivered by videogame or Manga characters. They say 'Haha,' and someone winked at some point.

Orange posits a theory of sound (that may validate her stuttering) that the doctor appreciates as new. It also seems to be bound up with semiotics. While she doesn't just go and say "semiotics", she does talk about the disconnection between sign and signifier in the supermarket aisles, even though she doesn't use the words "sign" or "signifier", either. It's unfortunate that in this precision-requiring moment, the prose is just a bit off. I'm not sure if it's the proofreading, or English is the author's second language or something else.

Fortunately, the outcome is unaffected, and it's the most interesting part of SOUND. It seems that Orange's theory transforms reality (if only all theories were this easily actualised!) and the IF's words rearrange and repeat on the screen to create the effect. The links wander, as well, but this is no "find the correct link to click" moment – this is indeed, the end of SOUND. And for me, it falls in the right spot that is specific enough to the story, and also abstract and poetic enough to be satisfying without over or under-doing anything. It did prompt me to think on it in a manner outsized to the conversation's face content, and the coda text suggests a beginning for the new communication ("You embark to find that voice") and, cleverly/eerily, is exactly what the game's blurb promised, because that is SOUND's blurb.

This IF is so short I replayed a couple of times to see the other elements and to experiment with the end screen. The repeat plays also improved my overall understanding of the conversation. It's not like it's complicated, but in general I find it hard to keep track of who's speaking during long direct speech outings. SOUND is brief and the payoff is good. A multiplication of effect at the end of something (and definitely not its opposite) is always a fine way to go out.