A Brief History of Spring Thing

Spring Thing is an IF Competition that has been held (with some minor exceptions) every year since 2002. Held in April/May, It has provided a counterpoint to the crowded and intense Interactive Fiction Competition held in October of each year. Over time, it has evolved from a showcase for long games to a place for philosophical experimentation to a springboard for new authors. In this essay, I’m going to delve into its history.

[Unlike IFComp, there are many Spring Thing games which I have not played, so I am relying more on reviews here. I have tried all of the winners.]

I welcome responses from individuals who have more memories or knowledge about Spring Thing.

Origins

Spring Thing began in 2002 when it was organized by well-known IF author Adam Cadre. In his own words:

The comp’s second organizer listed several of its rules goals:

As noted above, Spring Thing for many years required a $7 entry fee. The smaller group of entrants, entrance fee, and lack of time limit on games all contributed to a unique atmosphere for the competition over the years.

Let’s break the comp down year by year, and highlight its winners:

2002

The inaugural Spring Thing met with mixed success. There was only one entrant: Tinseltown Blues, by Chip Hayes.

On one hand, the low turnout was disappointing. Adam Cadre declared Chip the winner and allowed him to upload and announce the game in any way he wanted.

On the other hand, Tinseltown Blues was what many had hoped for: a game far larger than a 2-hour IFComp game, a big puzzlefest set in Hollywood.

Playing the game now, I enjoy it, but it suffers from one of the most common problems for big games: pacing. Some people are great at pacing big games; Zarf did a great job with Hadean Lands and So Far, Short with Counterfeit Monkey, and Gentry with Anchorhead, for example. But many people either 1)railroad the player far too much, or 2)don’t give any reasonable directions at all. This game does both; the opening is highly railroaded and full of text dumps, and the later parts require difficult-to-guess actions and a tightly-timed sequence that renders the game unwinnable if not taken care of in time.

This marked the first time that Spring Thing was used to release a very large game that wouldn’t fit in IFComp.

2003

Cadre announced the second Spring Thing in June of 2002, giving authors plenty of time to prepare. In the second year of Spring Thing, interest picked up a bit. There were 4 games released this year, instead of 1.

Entrants had various reasons for putting their games in the comp. Two of the games (Doris de Lightning, Cross of Fire) seem to have been entered here because they were longer than the traditional 2 hours. The author of another game, Kathleen Fischer, said that she was interested in seeing how Spring Thing would differ in ‘feel’ from IFComp.

The winner, Max Blaster and Doris de Lightning Against the Parrot Creatures of Venus was big and flashy, the equivalent of a summer blockbuster movie. Written by Emily Short and Dan Shiovitz (author of Bad Machine, among other games), this was a really long superhero game involving a Bond-like Max and a superhero Doris as two playable PCs.

The game is quite movie-like; it opens with a cinematic animated-text title screen, and is presented in a linear format of 5 or so challenges. Each challenge can be played through as Doris or as Max, and the finale requires both.

Unfortunately, the game is plagued with bugs, and some commenters found the pacing off (again, a common problem in large games).

The runner-up Inevitable is by Kathleen Fischer, an author who produced many remarkable games in her most productive years but who is now largely forgotten. Inevitable is a brooding sci-fi set piece involving abandoned ruins and ancient artifacts. Like most of her games, Inevitable is richly developed and well-programmed, but provides less guidance for the player.

Anssi Raisanen is the most prolific Alan author I know of, and they have been releasing charming, short puzzle games since 2001, with their most recent release being last year. Their 2003 entry, Puddles on the Path, is of similar quality and style to their others. I like these game; if you try one and like one, there are quite a few more available.

Finally, Cross of Fire was a fairly buggy game notable for starting with a scene where you shoot up cocaine as Sherlock Holmes.

This marked the first year to have short games, the first year with Raisanen, and the first year with a Sherlock Holmes game.

2004

From a post by Adam Cadre on rec.arts.int-fiction:

Despite many voicing support for Spring Thing and a growing number of mentions about Spring Thing in other topics, no one stepped up to run it in 2004.

2004 was a low year in general for IF, as many long-time authors disappeared after a few disappointing years in terms of player interest. Many big experiments had been done, and people on the forums felt burnt out. From 2005 and on, though, there was a sort of resurgence, with Spring Thing becoming more prominent and highly polished games like Vespers, Lost Pig, and Violet coming out in a few short years.

2005

In July of 2004, Greg Boettcher posted the following:

By the time the comp began next year, it had attracted 6 entrants, and its first breakout hit.

Aaron Reed entered Whom The Telling Changed, a highly experimental work. In this game, you are a witness to a storyteller in a tribe engaged in a long dialogue, psyching everyone up for a conflict with a rival tribe. Gameplay proceeds through your character shouting out keywords in an attempt to influence the story and to reach one of multiple endings. It was Aaron Reed’s first experimental game (after his successful puzzle game collaboration Gourmet in 2003).

The game Bolivia By Night deserves a mention as a long game with an innovative setting with a sort of magical realism (if that term encompasses driving a tank-like hot tub that is magically powered by a dvd of some Olsen Twins expys through a drug-dealer’s mansion).

David Whyld entered the first of his four Spring Things Adrift games, Second Chance.

This comp marked the first time a Spring Thing game had a highly experimental winner and launched an author into success, as would happen later with others. It also was the first time a ‘short’ game had won, and from now on, short games would dominate the comp.

2006

This year saw only four entries, but the entry that overshadows them all is The Baron. This is the most iconic Spring Thing game, with over 100 ratings and 16 reviews on IFDB, 7 XYZZY nominations (and one win), 6th and 9th place in the Interactive Fiction Top 50 of all time polls from 2011 and 2015.

This game was Victor Gijsber’s first and it made a big impression. The review from Play This Thing! says it best: “The Baron is a provocation, both in form and in content: in form, because it requires the player to choose not only actions but also an ethical philosophy; in content, because it asks what moral options remain for a person who recognizes himself as monstrous.”

Robb Sherwin and David Whyld both released games in-line with their previous works as well.

This marked the first time Spring Thing had games centered on big ethical dilemmas.

2007

This year was essentially a repeat of the last one. Again, there were 4 games, with 2 ADRIFT games and one winning z-code game by Victor Gijsbers.

Gijsber’s game, Fate, has not attracted as much attention as De Baron, but it is my personal favorite of Gijsber’s games. In it, you play a magical mother with foresight. You know that your precious baby is going to be slaughtered at a young age. You can do many different things to try to help them, with varying levels of success provided by your foresight. Unfortunately, the greatest things you can do for your child require the worst deeds at your hands.

David Whyld released yet another ADRIFT game, The Reluctant Resurrectee. This one was clever: you are a disembodied eyeball rolling on a desk. I liked it enough to base part of my 2017 IFComp game Absence of Law on it.

This marked the first year with a repeat winner.

2008

In 2008, there were only 3 entries. At this time, intfiction.org was becoming more prominent as r*if’s star began to wane.

The biggest entry here was only a preview, and it took third place: Aaron Reed’s Blue Lacuna. I don’t really consider Blue Lacuna a Spring Thing game, as it was entered only partially into Spring Thing. This preview was not well-received, as people wanted more. However, it went on to be one of the most successful IF games of all time, providing a PhD dissertation for Reed and landing in the top 10 of the IFDB Top 100 and the Best IF of All Time polls.

The winner, Pascal’s wager by Doug Egan, was another interesting morality based game in the vein of De Baron or Fate. The only way to win is to worship God your whole life. Unfortunately, there are 6 gods, and the right one to worship is chosen randomly, as is the one your parents worship. You are forced to approach several distinct tasks throughout your life which can be approached in any of the six ways (purity, violent brutality, self-preservation, etc.).

This marked the first time that a partial game was entered.

2009

In 2009, the IF community was continuing its slump, as more and more players aged out or moved on to other things.

The winner this year was Jim Aikin with A Flustered Duck. Aikin is known for creating big puzzle games like Not Just an Ordinary Ballerina or Lydia’s Heart. This is another game in the same vein, a solid playable piece that fulfills Spring Thing’s original intent.

2010

In 2010, there were no entries at all. As Bainespal wrote on intfiction.org: “Apparently, there was not a single entry! [emote]:shock:[/emote] That’s a little bit of a disappointment, to me. I’ll take this as a sign that I need to get off my lazy butt and write the game that I’ve been thinking about for Spring Thing 2011!”

After 2010, IF began pulling out of its slump as old authors returned to play with their children and the Twine revolution began to take off. This was also the year when the Choicescript community became more involved with the pre-existing IF communities.

2011

This year saw a healthy crop of 6 new games, including 3 really big, polished ones.

The winner was by the author of Anchorhead. Called The Lost Islands of Alabaz, it is a long puzzlefest geared towards children. I am currently playing it as I write this, and I really enjoyed it after a very confining introduction. It came with an XYZZY-award winning PDF feelie. Overall, many reviewers found it too simple for adults and too confusing for children. I like it, though.

Sean Shore released Bonehead, a complex baseball game that was very polished but a bit hard to get through. His later IFComp winning game Hunger Daemon exhibits the same polish but with better guidance.

Mentula Macanus was also released, which is probably the highest-quality game I’ve never played. It’s an incredibly foul and dirty riff on Greek mythology and classic IF games, and it one of the most polarizing games of IF ever created.

This year was the first time a children’s game won, and the first year to have more than 1 or 2 highly polished games.

2012

This year was the calm before the storm, as the slowly reviving parser community was about to be hit with the amazing Howling Dogs in the fall.

The winner was The Rocket Man and the sea, a charming parser game where you play a child with a strong imagination who encounters a mysterious man. Play changes between the real world and fantasy. I found this game engaging, though brief.

Jim Aikin wrote another big puzzle game, The White Bull. Many of my comments for A Flustered Duck apply here, although this game contains 6 musical ‘cues’.

2013

This year was memorable in multiple ways. The winner of the three games was Witch’s Girl, a Twine game, and the first Twine game to win any major IF Competition. It’s an illustrated game with some very clever branching. I highly recommend it.

It’s also notable for introducing Andrew Schultz’s first Spring Thing game, A Roiling Original. More and more after this year, authors that were highly productive would enter games into Spring Thing simply because they were making so many and needed somewhere to put them.

2014

This was the year that Aaron Reed took over from Greg Boettcher. As Aaron said:

This was also a year of great tumult for IF. Gamergate was occurring, and it hit hard in the IF community, as there were both entrenched hardline white male parser gamers already in the community and incoming younger LGBTQ+ creators excited to finally have an outlet. The two collided, resulting in year of great experimentation and also of people leaving the community or being attacked. Many experienced authors supported the new groups.

This Spring Thing was won by a game in the Choose Your Story system, called The Price of Freedom: Innocence Lost by Briar Rose. There were three Choose Your Story games entered this year, and it provoked a reaction from the community. There was intense name-calling and profanity laden rants from both sides.

The winning game itself is most closely related to Choicescript. It is an earnest story about a slave boy sold off to fight as a gladiator. I found it a little rough around the edges, but I enjoyed the storytelling.

Just like IFComp of this year, most of the winning games were choice-based games, with the top four spots occupied by the Choose Your Story games and by Geoff Moore’s inventive twine game Surface, which had unique styling and images and a plot inspired by the likes of Porpentine, with two worlds.

This year also had a major issue with a disqualification. The author has since tried to make amends, but there was a game that was disqualified for voting irregularities. There was a sharp disagreement about it, and it sparked major changes in…

2015

Due to voting irregularities from the last year and an increasing emphasis on Spring Thing as an inclusive place free from the stresses of IFComp, Aaron Reed transformed it into a festival. Now, the rankings are not published, and authors can receive one of 2 ribbons, one for Audience Choice and one for Alumni’s Choice. Instead of cash rewards and entrance fees, all authors participate in a random prize pool.

It also introduced the idea of the Back Garden, where games could be entered in a non-competitive way, especially for unfinished works or works by well-known authors who didn’t want to crowd out others.

The winner this year was Toby’s Nose, a Sherlock Holmes entry and Chandler Groover’s breakout game. Groover had previously released a twine game in the middle of IFComp which received little attention. He then tried a more standard puzzle-based game for Parser Comp, but was frustrated when players didn’t figure out what seemed like simple puzzles. He then settled on eliminating traditional play completely, and started a pattern that would lead to the most successful collection of games by any author in the last few years.

Toby’s Nose has you play as Sherlock’s dog Toby. You just smell things, which bring up memories in which you can also smell things. In this recursive way, you solve the mystery. This game has influenced every game I’ve ever written, and I know it’s influenced others, as well. It was nominated for several XYZZY awards and is fairly high on the IFDB top 100.

This year was also the Spring Thing debut for several other authors that are well-known for their choice-based works, including Bruno Dias, B Minus Seven, and Porpentine, who was already well-known for Howling Dogs and Our Angelical Understanding.

The back garden included Aspel, a multiplayer game by Emily Short using Zarf’s Seltani engine.

This was a huge year for changes, including the revising of the ranking system, the proliferation of talented authors, and the overall sheen of professionality.

2016

By now, IF in general had entered into its Professional Phase, both in terms of actual jobs and in author’s behavior. Far from its origins as a hobby for STEM major grad students, IF had become a career choice.

A whopping 17 games were released this year. Like years past, it included massive games not fit for IFComp (such as the psychedelic Harmonic Time-Bind Ritual Symphony), interesting experiments (like Ms. Lojka and the bilingual Sisters of Claro Largo), previews of full games (like Nocked!), and games by authors who were just so prolific they had to release them somewhere (like Fourdiopolis and Xylophoniad).

This year also got a boost from Veedercomp games. Ryan Veeder had organized a private competition for people to send him games. These were not released to the public; however, many authors showcased their games in Spring Thing, including Buster Hudson with Foo Foo and Chandler Groover with Three-Card Trick.

The winners were:

Tangaroa Deep, by Astrid Dalmady. This short but spine-tingling game was the result of a long career path by Dalmady, starting with simple games like Crossroads and moving on to more complex games like Arcane Intern. Dalmady would go on to place highly in IFComp and find commercial contracts.

Xylophoniad by Robin Johnson. This greek-influenced parser game used a hand-rolled engine by Johnson, who released four games in 2016, including the IFComp-winning Detectiveland. All of these games have a Scott Adams-type feel, with sparse scenery leaving room for detailed puzzles and amusing dialogue.

This was the first year with 2 winners, and the biggest year to date.

2017

This last year had 22 entries, including an interactive opera and a pinball simulator! It cemented the competition’s place as the comp for games that were too long for IFComp, highly experimental, unfinished, or the overflow of a highly productive author.

There were three winners this year. Two games tied for Audience Choice and another won Alumni’s Choice.

The first audience choice winner I want to discuss is Niney by Daniel Spitz. In a way, this was a callback to the non-standard games of Gijsbers and Reed that focused on choices with consequence. It is highly unconventional, and has you picking up ‘roles’ instead of inventory.

The second winner was Bobby and Bonnie by Xavid, who later published Future Threads. Bobby and Bonnie used an innovative graphical system, an unusual narrator (or pair of narrators), and a cheerful setting. The gameplay, however, was classic parser gameplay.

The Alumni’s Choice Winner was Guttersnipe: Carnival of Regrets. I actually just finished this last week. It’s in Quest, which is a notoriously buggy system. I frequently found myself struggling with the parser. But the overall story-arc is one of the most enjoyable I’ve experienced in a while. It’s all classic fetch-quest gameplay with clever characters. It can be hard to read the main character’s accent, but it all flows together after a few screens. I had a huge feeling of satisfaction upon completing the game.

There were many other good games this year, too many to mention. By 2017, Spring Thing had grown essentially as big as the IFComp was in its early years. But, thanks to the festival system, it has managed to avoid some of the rancor and despair that cash prizes and rankings can induce.

Conclusion

Spring Thing went through many phases over the years, but it has always provided the community with a way to display games that are off the beaten path, and to provide a respectable outlet for games outside of IFComp.

This year is shaping up to be a great one. While I’ve spent a great deal of time on my entry Sherlock Indomitable, I wasn’t happy with the linearity imposed by the story structure. I look forward to the new games being entered this year. Good luck to everyone!

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Wow, the Thing’s first comprehensive history! This is incredible. :smiley: I’ve linked it from the festival’s History page, if that’s okay. Thanks much for researching and writing this up!

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2018

The winner this year was Illuminismo Iniziato, by Michael J Coyne. This was an unabashedly old school game and a sequel to Risorgimento Represso from IFComp 2003. You play as a human from the modern world (in the first game) who has become a wizard’s apprentice. The game map encompasses two cities, and the game itself is notable for using graphical windows including a map and a newspaper.

This Spring Thing was also notable for its number of long-time authors, including games from Arthur DiBianca, Luke Jones, me (mathbrush), Bitter Karella, Mark Marino, Naomi Norbez, and Robin Johnson, some of which I’ll mention below.

One interesting entry this year was A Bunch of Keys by Mike Gerwat. It was a giant parser game written by a blind piano tuner who had worked with Genesis a few times, according to the game’s help page. While the game was buggy, it was also pretty creative.

This year also saw the first (and, as of 2024, only) game released in Liza Daly’s Windrift system: The Imposter, by Enrique Henestroza Anguiano. It’s an illustrated game set in Paris that feels surreal.

Life in a Northern Town was an unusual multi-part experiment spread over Twine, Inklewriter, Instagram, Medium, and Wordpress, with some of it already lost to time. It told a gritty story about an unemployed woman who gets a shady business opportunity from a family member.

Zeppelin Adventure was Robin Johnson’s first Spring Thing game using his new engine, which was called Versificator 2 at the time but was later retooled and released as Gruescript. Continuing the trend of new genres every game (his first two games in the system were Draculaland and Detectiveland), this is a fun sci-fi adventure with a lot of character.

About the puzzles in Zeppelin Adventure, Emily Short said:

Quite a few of the puzzles have to do with intervening in the operation of a mechanism of some kind, usually by figuring out just the right moment to act and stop the cycle from proceeding as it normally would — and even the endgame sequence makes use of that structure. None of the puzzles feel like filler, or like recapitulations of old standbys.

I released Sherlock Indomitable this year, which had previously won Introcomp. I go into more detail in this in Chapter 11 [sorry intfiction readers I’m just typing this the way it’ll go in my book].

2019

This year saw the two separately-voted Audience and Alumni ribbons of past years combined into two equivalent Best In Show ribbons, as well as custom ribbons for each game suggested by judges and chosen by authors. This year, these ranged from simple ones like “Best Art” to more unusual ones like “Best History Lesson”.

The Missing Ring was one of the winners this year, and it’s a game I enjoyed quite a bit. It’s a family mystery, written in Twine, where you, a youth, have to interview family members and figure out why your grandmother’s ring is missing. The characters and writing are excellent.

Among the Seasons is the other winner, a game placing you in the role of a magpie that passes through different seasons of the year, with nature descriptions. It’s currently (as of 2024) the lowest-ranked Spring Thing winner on IFDB and is one of 4 bird-related or bird-named winners (Hawk the Hunter, A Flustered Duck, Max Blaster and Doris de Lightning Against the Parrot Creatures of Venus).

This year also saw the only Spring Thing game made using the Elm narrative engine: Darkness, by Jeff Schomay. The system had a neat persistent menu of objects to manipulate as well as traditional twine-like passages. It shouldn’t be confused with Elm Story, an engine that had a troubled history and shut down.

This year also featured Bullhockey 2 by B F Lindsay, the second entry in a series of very big, difficult parser puzzle games involving chasing after your girlfriend and ex.

2020
This was the covid year, which led to a new change from Aaron, who was still the organizer:

I’ve heard from a couple of you who have had to drop side hobbies like working on interactive fiction to handle real life issues, and are hoping the festival will be delayed. I’ve heard from others who are hoping the festival goes on, in the face of so many other things they were looking forward to having been cancelled.

So here’s what I’ve decided to do. The festival will go on as usual this year. (If you’ve never participated before, it’s an entirely online event, which makes this decision easier.)

[…]

However, there’s going to be another way to participate this year: the Spring Thing Late Harvest. If you submitted an intent to enter this year’s festival, and aren’t able to make the deadline, you can still submit your game any time in 2020, up to December 31st. These entries won’t be part of the Main Festival (i.e. no ribbons or prizes), but will be showcased on the Spring Thing site in their own section, much like Back Garden games.

However, only one late game ended up being submitted: The Game That Never Ends. I don’t think this new segment was very successful, as I hadn’t even heard of this game until I started writing this essay, 4 years later. I just played and reviewed it, and I’m the first review and 2nd rating it ever got. It’s a procedurally generated sequence of rooms with similar puzzle elements that has a certain twist.

Among the other games, three tied for Best in Show!

4x4 Galaxy was an excellent game by Agnieszka Trzaska, one of the best-known puzzly Twine authors and eventually a 3-time Spring Thing winner. This entry, her first winner, is a grid of 16 star systems that can be explored in different orders to gain resources, explore, meet groups, get sidequests, upgrade, and win with a procedurally generated goal. Its fantasy successor, 4x4 Archipelago, placed 8th in IFComp 2021 and is among the highest-rated Twine games on IFDB.

Hawk the Hunter was another winner. This is a long Quest game based on the movie of the same title. It uses colored backgrounds and has RPG elements, although it was fairly difficult without a walkthrough.

JELLY by Tom Lento and Chandler Groover is the third winner, a fascinating game that is basically a dark fantasy roguelike where you are a living construct made of jelly. It makes use of Ascii art for a big map and involves you dying over and over to learn more about the world around you. Fascinating game.

Another interesting game this year, though not a ribbon winner, was Napier’s Cache by Vivienne Dunstan. This game has a historical setting in Scotland, a type of setting not generally seen in IF. It’s a polished, short parser game.

The Prongleman Job, by well-known author Arthur DiBianca, used an unusual mechanic for parser games which I’d rather not spoil here, but it’s one I’ve only really seen in one other game ever.

Author B Minus Seven, who is one of Chandler Groover’s favorite authors (who is one of my favorite authors) returned with two stories: composites and silences.

I had my own game, 77 Verbs, which attempted to use every single standard verb in the Inform library.

2021

Spring Thing really started taking off this year, with almost 40 entries. By this point, the competition, which had been completely empty some years or only had 1 or 2 games in others, had grown to be essentially the same size as IFComp had been in its first few decades.

This year had some truly great games in it. There were two winners, as usual.

Fish and Dagger is a truly astounding multimedia Twine game that incorporates video, QR codes, motion tracking and AR. It’s a humorous spy-style game that breaks the fourth wall frequently.

The Weight of a Soul by Chin Kee Yong is a game we saw earlier, in 2017, as a preview. Now fully fleshed-out, it was one of the larget polished/smooth parser game releases in years. It’s a steampunk goblin/alchemy game with a strong plot that pushes the game forward, and has reached several IFDB polls and lists such as the IFDB Top 100.

One of my favorite games this year was Excalibur by JJ Guest, G. C. Baccaris and Duncan Bowsman. This game takes the form of a wiki for a non-existant TV show that is experiencing some mild technical difficulty. As you explore the wiki, more parts of it unlock, showing both interesting slices of British and TV fan culture and hints of the occult.

The now-venerable Lady Thalia series began this year with E. Joyce and N. Cormier’s Lady Thalia and the Seraskier Sapphires. The Lady Thalia series has never won but has always been close. It follows a clever thief from an older time who must scope out locations with the help of a friend and pull off heists while avoiding the police.

Kaemi Velatet released Queenlash, a stream-of-consciousness epic involving Cleoptra and arranged in chapter form with few linkages between them but within each chapter the links form a kind of web. This game is a favorite of noted IF critic Mike Russo, who became particularly prolific in the 2020’s despite being part of the community much earlier.

This year also saw a game by Anssi Räisänen called So I Was Short Of Cash And Took On A Quest, who was also one of the earliest Spring Thing authors, entering a game back in 2003.

2022

This year saw 47 games and a sharp uptick in quality. The increased size became fairly difficulty for the organizer, who added new rules limiting entries to one per person and less than 100 MB of storage size. This would be Aaron’s last year organizing the competition.

One winner this year was Agnieszka Trzaska with her second winning game, The Bones of Rosalinda. This game has you play as an animate skeleton that can detach individual bones and parts to act independently. It spawned a sequel, The Trials of Rosalinda.

The second was Fairest by Amanda Walker. She had just come off of an IFComp where she placed in the top 5 with What Heart Heard of, Ghost Guessed, and would later win the XYZZY Best Game award for that IFComp game. This game, Fairest, is a fairy-tales mishmash that manages to emphasize the darkness in old tales while lending humor to the whole affair, including breaking the fourth wall.

Several authors debuted in this Spring Thing who would later be heavily involved in the community, including Pinkunz (who would later take over the XYZZY Awards) with A D R I F T, Sophia de Augustine (prolific author and Neo-Interactive Cocreator) with Sweetpea and groggydog (frequent Spring Thing entrant and experimental author) with Super Mega Tournament Arc!.

Computerfriend by Kit Riemer was a well-received game that was nominated for Best Game in the XYZZY awards. It’s a twine game with animation and colors that is set in a post-apocalyptic world with a computer therapist that has been assigned to you.

Many other great games by well-known authors were released, including another Lady Thalia game (Lady Thalia and the Rose of Rocroi), Bitter Karella’s The Legend of Horse Girl, Christopher Merriner’s Custard & Mustard’s Big Adventure, Autumn Chen’s New Year’s Eve, 2019, Tours Roust Torus by Andrew Schultz, Kaemi’s Manifest No, and Wry by Olaf Nowacki, among others.

2023

This was the first year that I took over as organizer as the growing size of the competition and increasing personal demands had left Aaron Reed to look for a successor.

This delayed the announcement of Spring Thing, and, combined with my lower level of advertising, left the comp with a manageable 27 games rather than the heavier numbers of years past.

Repeat the Ending by Drew Cook, an IF historian, was one of the Best Show recipients. It has gone on to great acclaim, recently placing in the top 8 in a best free IF of all time playoffs, as well as winning the 2nd IFDB Awards. (As of writing, the voting for the 2023 XYZZY Awards has not yet occurred, but it can be assumed it will place well). This is a game about mental health and family relationships, framed as a revision of a much earlier game, with a whole created history of fake reviews and transcripts. The game’s code is quite hefty, and it is polished remarkably well. On IFDB, it is the second highest-rated Spring Thing winner after Toby’s Nose.

The other winner was Protocol by 30x30, a dark science fiction game with excellent styling and rich, frightening text. This was author 30x30’s first published game. One reviewer said of it:

The desperate crawling journey of the woman through the station to its core systems, to the exposed and damaged vital technologies mirrors a descent deeper and deeper into the body and mind, into psyche and soma, to the wounded bleeding sarx itself, the flesh and bones that need repair.

However intimately connected, mind and body undergo an unnerving disorienting dissociation/distancing during the journey. The station becomes a distorted mirror for the woman. It reflects her broken dreams and yearnings and regrets back to her, reminiscent of the Nietzschean abyss. This is often expressed in physical, external circumstances and actions.

This year saw the arrival of Joey Cramsey, author of I Am Prey, notable both for its use of TADS (as part of a 2020’s TADS renaissance that includes According to Cain and Prince Quisborne) and for its unusual cat-and-mouse/replayable game structure.

The Kuolema attracted a lot of attention as a game written in Google Forms! It made some use of Dall-E images, but most of the images were made in a traditional way, as explained in the game credits. The innovative format made this a big talking piece, and it was remade in Twine the following year.

I was personally interested in Red Door Yellow Door by Charm Cochran, as it was related to Seed Comp, a competition where authors can submit ‘seed’ game ideas to others who then develop games off them, and this was based on one of mine, a slumber party parser game where the PC is a kid playing a visualization game and the parser is the kids egging her on. I loved Charm’s take on this.

This was the first year that Ondrej Odokienko led a group of Slovakian students to make the Senica Thing, where students submitted small twine games on a theme, in this case the theme being Mirror.

Several longstanding authors entered strong games as well, including the third (and so-far latest) entry in a series, Lady Thalia and the Masterpiece of Moldavia, The Familiar by groggydog, Beat Me Up Scotty by Jkj Yuio (an author known for his custom system and relationship to Magnetic Scrolls), Write or Reflect? by Andrew Schultz, The Roads not Taken by manonamora and A Single Ouroboros Scale: My Postmortem by Naomi Norbez.

Tabitha O’Connell entered Structural Integrity which introduced players to some characters that formed the core of Tabitha’s later personal relationship- and conversation-based work, although they existed beforehand in two novels.

2024

In 2024 I introduced a new category, New Game Plus, to allow participants to enter previously released games that had been substantially changed, such as through porting to a very new system or receiving significant upgrades.

There were 32 games this year, still lower than the highest amounts in Aaron’s time.

One winner this year was Social Democracy: An Alternate History by Autumn Chen, a game that received thousands of plays on Itch and received mentions outside the IF sphere. It’s a card-based game simulating pre-Hitler Germany where your goal is to manage a political party in order to prevent the rise of Fascism.

The Trials of Rosalinda, a sequel by Agnieszka Trzaska, was the other winner. This built on the previous Rosalinda game’s bone-based puzzle system by also including a second protagonist, a spell-casting mouse. It featured fun and frightening characters and great puzzles.

The Slovakian students returned with Deep Dark Wood, a collection of short twine games unified by the titular theme.

Alltarach was a game heavily influenced by Irish mythology and featuring numerous Irish words.

Manonamora realased Doctor Jeangille’s Letters, a lengthy twine game that features what is in my mind some of her best work. You send handwritten letters about strange occurrings in a village you have returned to, while you also make a new friend.

Studio by Charm Cochran featured the interesting use of future tense. It is a take on the old ‘my crappy apartment game’ where everything is implemented in extreme detail but for a reason. It features a woman in a new apartment where someone breaks in the middle of the night, and uses the Bisquixe multimedia interpreter I developed for Inform.

Loose Ends was a fairly hefty Ink game by Daniel Stelzer and Anais Sommerfeld using the Vampire: The Masquerade system, similar to Night Road. It is an investigation of a murder and of a missing artists, and lets you use a variety of vampire powers.

You Can Only Turn Left was notable for its heavy use of multimedia, especially video. It can be described as an insomnia hyena game, if that makes any sense.

This year had less repeat authors than most, although there were a few (such as gorggydog with Propser.0 and the two winners).

Who knows what lies in the future for Spring Thing?

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I wrote this extension to my Spring Thing history because I realized I had included it in my book and I updated everything else in the book to 2024.

Feel free to mention anything you think I ought to have included; especially in recent years, there were a ton of great games!

Also, if you submitted an intent to IFComp but can’t finish you game in time, Spring Thing is always happy to take your game, as is Parsercomp and other Spring/Summer competitions.

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I was squirming in my seat reading the 2021 write up because I was excited about you mentioning the first of the Lady Thalia games, and then I scrolled down a bit and saw Queenlash was next so I came this close to stopping reading there so I could make a post about how much I love that game, too - but for better or worse I read the rest of that paragraph first. So yeah, you’ve got my number :slight_smile:

Seeing it written out like this, it really notable how many folks who are pillars of the current community came in in 2022 - it’s funny how that worked out.

Thanks again for pulling these together, I’m looking forward to the full book!

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This is really interesting! In my mind Spring Thing always felt like a competition where “winner gets known, and all the other games are sort of forgotten forever” but seeing how in recent years, games like Computerfriend, Sweetpea and I Am Prey weren’t winners, and they’re games that I really like.

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You made me interested in comparing. It looks like the group of winners and non winners both have some great games:

Winners: Search for Games

Non-winners: Search for Games

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Weird. How did Blue Lacuna get last place in Spring Thing?

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It was just a preview. Historically, unfinished games get ranked very low in competitions, but that culture has shifted a bit in recent years.

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The trip down memory lane was nice!

Zeppelin Adventure is perhaps not going to be remembered quite as well in the long run as some of Robin Johnson’s other games, but it’s certainly my personal favorite. Robin’s Versificator/Gruescript engine games can maybe be described as click-based parser; for anyone that’s enjoyed Agnieszka Trzaska’s more adventure game-y fare, in that ballpark for tone and puzzle focus. I recall some really clever puzzle design, and also, for those that care about this sort of stuff, a really clean map layout! (Also mathbrush, note you called it Zeppelin Land in the Emily Short quote part.)

The Weight of a Soul is gonna be a standout from this period for me. It’s in my personal top 20 list. A world-building marvel.

This is also the period where I really started to feel a real uptick in larger Twine works. Looking through the highlights, maybe it’s 2021 specifically. For Spring Thing at least. Before that, a polished Twine entry might be something like The Missing Ring, which is a fun Nancy Drew-ish family mystery, but how long was it, maybe 30 minutes? Whatever the case, by 2021 we’re seeing Lady Thalia/Excalibur/Fish and Dagger.

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Fixed it, thanks!

And you’re right, Twine/choice lengths really have increased in general.

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