Number of Reviews: 6
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Long Live Goth, July 12, 2023Adapted from a SpringThing23 Review
Played: 4/12/23
Playtime: 45min, 4 cycles, 2 unique endings
Author’s Comment: “For those with jewel-eyed ancestors.” LOLWUT? You got my attention game!
Mood is a tricky beast. Every word on the page builds on every previous word to weave an atmosphere, a vibe of the piece that can work on you, independent of the narrative it is conveying. (I kinda wish I had opened this door in my review of Protocol but we can tackle it here. I wasn’t thinking this clearly after that one.) Hemingway’s big literary revelation was that Less is More - that you can convey ideas, events, emotions and mood as or more effectively with minimal typing.
But you know what else is More? More is More. Just ask Melville! You can also use carefully curated metaphors, nuanced adjectives and cross-sentence resonances to build mood out of scale to the words you put down. It is very delicate business, though. Done inexpertly, it can become jarring or worse self-parody.
Gothic Horror leans more heavily on the More is More tradition, and Etoliated Light leans into Gothic Horror. I don’t want to say I’ve cracked the code, but EL gave me a hypothesis I’m going to test in front of you all. Elaborate verse is most effective when it presents an interesting new idea (or a new expression of an old idea), and also reinforces the developing mood and/or narrative of the piece. I found EL pretty competent at this, but not without faults. Here are two early examples I think work really well:
"One smiles and the others’ face slackens, as if the expression is something they’re passing back and forth between them."
"You’re pleased by this because you’re a child. It feels wonderful to be bigger and stronger than others."
Both have mood, novel observations, and reinforce other spoilery parts of the narrative. Here’s one I don’t think is as successful:
"You grab onto your mother’s skirts and bury your face in that comfort yet again."
While arguably nicely observed and expressed, it actually came out of nowhere that the comfort was wanted or habitual, and did not resonate with any other text around it. It felt like a showy/writery statement mostly thanks to its isolation. Overall, I credit EL with a pretty high nice/clunk ratio. Certainly it was high enough to competently build the Gothic mood that powers this story. I’m going to call the language here a win, with an asterisk.
The presentation is pretty bare bones - black screen, white text, blue selection links. You are launched into the story without cover page, cover art, acknowledgements or preamble. The intent seems to be to put you into the young protagonist’s not-quite-sure-what’s-going-on mindset but it had the side effect of making it feel more amateurish. A more robust presentation could have offset that. You get some nice atmosphere, set some genders and names, then find out (Spoiler - click to show)you’re being married off. I’M SORRY WHAT?? It’s a nicely executed shock.
Fast forward and you are living on a remote island with a sickening, that is to say ill, spouse and an elusive caretaker. The requisite family revelations, historical horrors and physical dangers unroll on cue which sounds condescending phrased that way. I found it to be quite effective actually, mostly on the strengths of the mood the text continued to weave. The details of the threat were unique and creepy enough to be effective. It also had quite a bit to say, metaphorically speaking, and for me at least the combination of mood and monster just clicked. The protagonist selection options for conversations and actions were similarly nicely curated. They were clearly steering you into the plot, but they allowed a good latitude of control over the mindset of the protagonist, which really swept you into the proceedings.
I will say, the ending was a mild letdown. (Spoiler - click to show) For one, the resolution suddenly demanded a sacrifice including a child option that somehow was not mentioned earlier at all. Also concerningly, there was no non-sacrifice option. I would say the endings I found were THEMATICALLY on point, but NARRATIVELY ill-justified. It’s possible other story branches covered that ground. But my narrative choices seemed to enable a branch that was unceremoniously cut from beneath me. I’m on record as appreciating (Spoiler - click to show)no-win horror. But I do need the work to do the work to convince me and not just TELL me.
It’s probably a clue how much text you’ve seen on this entry that it did stick with me. Yes, I had quibbles. I always do. Always. ALWAYS. ahem. But the combination of prose mood setting, really effective Gothic Horror, nice interactive character building (until the end), monster-as-metaphor, and even the maybe not earned but appropriate endings… that combo really came together. I’m only 2/3 the way through the Thing, but for me this one is in the ribbon conversation.
Also, it improbably but convincingly justified that “Jewel-eyed” teaser.
Spice Girl: Scary/Posh Spice
Vibe: Gothic Horror.
Polish: Textured.
Is this TADS? No.
Gimme the Wheel! If it were mine, I would do another pass of editing, with an eye to trimming easy lines that are flourishy but don’t serve the narrative or mood. Also ones that are a little too on the nose.
Spice Girl Ratings: Scary(Horror), Sporty (Gamey), Baby (Light-Hearted), Ginger (non-CWM/political), Posh (Meaningful)
Polish scale: Gleaming, Smooth, Textured, Rough, Distressed
Gimme the Wheel: What I would do next, if it were my project.