Dgtziea's IFComp 2025 Reviews (A winter morning on the beach / Who Whacked Jimmy Pinata?)

Hello.

Was a bit busy during these past 2 months so I just focused on playing through entries when I could during judging period, but have some time now to write down some thoughts on the ones I played.

Congrats to anyone who finished an entry and entered this year, and always appreciate everyone who judges, reviews, or organizes as well. It seems like a lot of review threads this year which is great to see, looking forward to reading other people’s reviews.

Reviewed:
Imperial Throne
Errand Run
Pharaohs’ Heir
Who Whacked Jimmy Piñata?
A winter morning on the beach

11 Likes

Imperial Throne

(This was a really early playthrough, so I don’t know if there’s been updates from the Sept 4th version I downloaded and played)

TADS strategy game, where you’re a ruler making decisions for their kingdom. Diplomacy, war, taxation, and construction are all under your purview, although military conquest and defence is what you’ll likely be focusing on the most. That aspect is a bit like Risk, where you have a certain number of troops in each region you can move around, and also generals you can assign to a region which makes those troops more effective. When you try to attack an enemy region, your closest neighbouring region will automatically attack.

Some helpful commands if you want to try this: COMMAND tells you a list of common commands (the game doesn’t give you too much instruction). X EMPIRE and X DEPLOYMENTS are both good overview commands for the military.

This made me think about two very different types of kingdom management games I’d played before. Reigns was a kingdom management game with a more narrative spin, where decisions were represented as a set of cards you draw through, and you only have a binary choice for each decision. Characters come to you with problems to preside over. Then there’s something like Civilization, a strategy game series where you get a whole bunch of information and stats menus to pore through, and a lot of different decisions you can make at any point, with a lot of granularity and fine control. Ostensibly you’re a specific historical figure, but really you’re a god puppeting troops around and zooming from one side of your kingdom to the other; there are units to control and figureheads of other civilizations to negotiate with, but no sense of real, living breathing people. Beyond the combat, Imperial Throne is a bit more on the Reigns end of decision making, though there is a bit of a sense of omniscience to things (and Reigns, thinking about it, did have a set of four surfaced stats that were quite important). You’ll get reports of different things happening (say: a new play comes out, a temple burns down, your northernmost region gets attacked, a princess in another kingdom gets married) but only ever through your one advisor in the room which you can never leave, and any action you take seems to push time forward. You don’t have to react to each narrative event immediately, but it’s certainly a good idea to react to some of them at least.

But this is a parser game, and you don’t get told what actions you can take in response to any of these events, and so I did find myself unable to figure out what I could do for some of them, and fumbling for the right wording for others. The game is very open ended, with an explicit instruction to just try commands out. There’s one region early on with a certain resource which the game very obviously wanted me to extract, but I struggled to find the right actions it wanted (Gold. Found the region with gold, obviously game wanted me to get it. But took a bit to find the commands to get it). There’s also a lot of characters that the game seems to want me to do something with (warriors distinguishing themselves on the battlefield, named characters popping up in events), and there’s a HIRE command for example, but the game wanted me to choose what job to hire them for, and I couldn’t figure out any jobs the game would accept. So there’s a bit more fumbling around here than in a more convention-based parser game.

It does soon becomes evident that this is a bit more of a series of narrative events than an attempt at a deep strategy simulation. You can’t (and aren’t expected to) track budgets, or resources, or really ever get a precise idea of how your kingdom is doing (there’s no culture or happiness or budget stats); it’s just through the narrative events that you find out what’s happening. I did wish at times to know, for example, what my list of current allies were, but that didn’t seem possible. There’s a lot of names and regions, so I found myself scrolling up quite a bit to find the name of something referred to earlier, because they might just get referenced that one time.

Still, I did really quite enjoy just seeing what new events popped up and poking around figuring out what commands it accepted for quite a while. There’s a neat variety and sense of range to the events, and a fun sense of putting out fires and gradually feeling like you’re advancing your empire in the right direction.

Eventually, after conquering a couple neighboring kingdoms (which took a number of somewhat repetitive ATTACK turns) I was left with two remaining enemy regions: tribesmen to the north which was actually several tribes, and another enemy which specialized in pikemen which apparently my basic troops lost to (unit type hadn’t really come up before that). Both enemies were a bit annoying to attack, and I’d grown tired of all the repetitive fighting anyhow but there didn’t really seem to be any diplomatic solutions with those two either. I limped to an ending with some rebels knocking on the steps of my capital, but thankfully the game ended before that, with me having reached my twilight years as a ruler having expanded my empire. I assume I hit a turn limit.

The freedom of the parser led to occasional frustration; your advisor could perhaps just tell you some options for each of the events? I don’t know if having to guess the right actions added that much to the experience, though I could see how coming up with the right action might be cool in a few cases. I did also feel like I wanted to pull up more information at times. I think for a parser game, skewing even more narrative would made sense, but a more strategy-intensive game could also be interesting. This didn’t fully nail down the mix between the two, though I did think it was interesting to see it tried within a parser. I did mostly enjoy my time with this, up until the endgame when I was tired of constantly pushing troops outwards, and it didn’t seem like there was too much else I could be doing at that point. In the end, reacting to the narrative events felt fun throughout, while managing the troops wore thin.

10 Likes

Errand Run

Twine, short. You’re on an errand run to the supermarket for some groceries, trying to just go about your normal routine. Hey, chin up, you just gotta keep moving on with your life. No sad girl summer for you!

Some good use of text effects. I think this story is effective. I DO have slightly higher expectations on execution for such short pieces as this: I thought the exposition was a bit back-loaded (but maybe that’s unavoidable for the story) and some of the inner monologue is slightly off to me: it’s sometimes written like how someone might talk or write online, but it didn’t come across to me like how someone would think to themselves. Did like the use of the quote at the end, a good ending note. A solid short story.

Spoilers

So what’s this going for? It seems like the story of someone just going to the supermarket like normal, picking through produce and deciding what to buy. But then it turns out that there’s been some sort of rapture event causing a lot of death and violence in the aftermath, and this errand is your coping mechanism, a way of trying to pretend everything is the way it was before. But it’s not quite a horror story shock twist reveal, because this tips its hand quite early that all isn’t well with some of its text effects. Instead, it’s more like a tension as you anticipate learning about what’s actually going on. This tension is effective. There’s a lot of small clues in how everything is described as well, which become more obvious as you go along. The shopping doesn’t really try to get you invested in the choices, or at least I didn’t really think about whether to buy onions or not, all that much.

Instead, the game does two things I found interesting. One is its use of hypertext: timed text and interruption and color and spacing. It feels like these sorts of effects have been resurging more often in Twine entries recently? But this uses it sparingly, and well.

The other thing is its use of second person. Two specific lines, after you suddenly remember that your neighbor is dead and you’ve been trying to suppress that knowledge: “Don’t act so suprised[sic]. You were there, weren’t you?” and then later on, “And your brother. Remember?”

So this is a use of second person where the player character has been dissociating, and their own narration is calling themselves (or ourselves) out. There’s a schism in the protagonist’s mind, and the text effects and these two lines are when that suppressed side of their mind is breaking through. The second line I quoted, the “And your brother. Remember?” did briefly take me out of the story a moment, just because it felt like a heavy prod of a setup for exposition. Like, are the sides of my screen going wavy there, are we about to enter a flashback sequence? Yeah we are, but the details end up a bit more interesting than your standard zombie apocalypse.

9 Likes

Pharaohs’ Heir

Light puzzle game written in Ink. You’re being interrogated by the police over the destruction of a prized national artifact, and have to explain your day. A bunch of statues and Egyptian artifacts and symbols are involved in your adventures. Remember that scene in Indiana Jones where he goes underground and has to align a scepter to reflect the sun a certain way, to reveal a location on a small city model on the ground? Stuff that’s a bit like that. The story involves an ancient Egyptian ritual, and wait, how does it make sense for you to keep changing what you do earlier on in the day, with knowledge you glean later? Hmm!

This was solid fun for the most part. The game had an estimated playtime of half an hour, though I think I might’ve taken a bit more than that. You do have to do a lot of poking and prodding around to figure out what interactions are available and sometimes what new interactions have sprung up, which is partly why I took a bit longer.

This is basically split into three different locations/scenes which took place at different times of your day. Maybe because of the way Ink is built, there’s a circular flow to the proceedings where the game sometimes will push you forward out of a scene if you pick the wrong thing to do, and you have to go back in again and again. In a parser game, the implementation might be to let you stay in a place and let you move between locations as you wish, but the weakness of that approach is that you might spend a lot of time spinning your wheels in one location, when the thing you need to do is elsewhere, whereas here, it’s always fairly easy for you to exhaust all the options at a scene and know that you need to look elsewhere. One thing this has over how Twine might by default handle text is that you can always scroll back up to see all the text you’ve seen before, which ends up being very helpful. Taking notes would also help a lot because you do have to reference specific orders of things. It’s a lot of learning information in one place and then using it in another, and it isn’t always straightforward which scene to look at next.

There’s one part involving colored pots which was a bit laborious if you do a step wrong and have to start again, especially since there’s a specific trick that you have to pay attention to catch; I thought it was a fairly neat riddle involving aligning two different sets of information together, which just about cancels out how mildly annoying it was to have to redo the process twice over when I made mistakes. Washing and then coloring the pots felt like it didn’t need to be a two step process and could’ve been simplified. But that puzzle itself I thought was very neat.

Only step I really felt like I wasn’t guided towards at all was having to look at the sheets. I didn’t know to do that, and it took me a while to stumble across that action.

There’s just enough story and character personalities to hang the puzzles on; I didn’t particularly think too much about the whole back-and-forth-in-time part of the story, but I think it justifies itself fine just as something needed for the puzzle to work.

Had a nice time with this!

8 Likes

Who Whacked Jimmy Piñata?

What a title! I’m looking at the IFDB, and it seems like this is part of a series. I do remember seeing those other titles before now that I think about it, but this is the first in the series I’ve played.

Parser puzzler. I feel like I might’ve taken more than two hours. It’s a detective story set in a world where all the characters are… like, food items, or at least food related. You’re a gumball, and other characters include Candy Kane, Father Wafer, Officer Bagel. You’re trying to solve the death of Jimmy Pinata, and there’s a lot of fun noir parodying/homage here along with all the puns.

A lot of the game seems focused on–or at least spent–talking to people. This allows the game to really shine a spotlight on some of its strongest aspects, which are its characters and the world it’s built. The dialogue system is ASK person ABOUT topic; the amount of topics the characters respond to here is admirably large, and there’s bolded keywords in their responses that point to more things to ask about. Responses were quite short, one or two sentences, so it does feel like I spent quite some time just extracting every drop of conversation from each person. These people, most of whom were uh, let’s say criminal adjacent at best, were surprisingly forthcoming about chatting to you about, say, the local drug trade. It’s solid hard-boiled dialogue, and characters give you incomplete pictures of what’s happening, so the biggest puzzle of all seems to be piecing it all together. But short responses, lots of topics, lots of typing ASK blank ABOUT blank. When it come to dialogue systems I think I generally like using TALK TO or numbered menus more than ASK/TELL (less typing, generally leads to more natural dialogue) but that’s maybe more personal player preference.

But there are actual puzzles as well, which I just… wasn’t able to solve. After the intro, I looked around. The map isn’t that big, but there’s a lot of things to look at, lot of people and a lot of topics to talk to each of them about, and no specific sense of where to start or where to go next. Which is fine enough; I look around, and find about six locations where there’s either a locked door, or someone blocking my path to another room. One issue I ran into is there’s some non-obvious dependencies because some of those locked locations are solved using items behind another blocked path, but I was focusing on the wrong one to start with. Two puzzles were open to me from the start, but I thought I needed to look elsewhere for more info to solve both of them. Part of it might be all the talking I’d been doing; I perhaps got the wrong idea from all the dialogue options that this was more of a talking game, so I thought I’d talk to people and pick up leads, and then those leads would naturally guide me to what people to investigate next, and I’d also maybe find dirt on people so I could lean on them more.

Spoilery explanation

The bookstore was one of the places solvable to start. It’s a location which I don’t think anyone else mentioned, and Jawbreaker is guarding the back, some people have mentioned him. But I don’t know anything about the bookstore or why Jawbreaker’s there. I’m looking for a password, but I mistakenly figured I’d have to learn something about Jawbreaker, like his favorite song or something to figure that out, and I also figured I’d maybe learn why I wanted to get past Jawbreaker before I’d actually have to get back there. I mainly focus on the VIP lounge, since a lot of people are mentioning it, I know who’s in the lounge so I know why I want to get there, and I even see a lot of clues for what the solution there involves. It seemed like a lot of things pointing to it as the place to start. The church I also don’t look at too much yet, because I thought it just seemed like it’d be more of a talking puzzle where I eventually would’ve learnt something that I could guilt trip the Father with into confessing, and then he would’ve let me up the stairs. That’s not a good assumption on my end, but I just didn’t think about trespassing as an option yet. The boat makes it clear what type of puzzle it is so trespassing IS on the table there, and I poke at it a bit at the start. Eventually I also had to look at hints because I tried chewing but not licking the taffy, so I had the right idea but the wrong verb. I finished the chase sequence scene which was fun, but I was asked who I thought it was by that character you meet and I really didn’t have any clue yet (I suggested Big Hunk since he seemed to know some stuff he wasn’t sharing). But my conversation with that character post-chase made me think I should’ve had more idea about what was happening by that point, because they mention that killing Jimmy wouldn’t stop them from selling, which seems to presuppose I know a lot more about what’s going on than I actually did. This character, Big Hunk, and the character on the boat all seemed to know at least a bit about what happened to Jimmy, but none of them really told me a lot about him, and there’s no real way to press them any further.

I kept playing, and eventually I felt like I’d been going too long without any progress so I looked at the walkthrough. That got me into two places and gave me a bit more evidence, and I eventually started accusing people and I did get the ending, but without really having an understanding of the central mystery of what Jimmy Pinata was involved in until I just read through the walkthrough a bit more. Didn’t really know who the rucksack belonged to, and also found the balloons off with walkthrough help but don’t know how I would’ve known their significance. So the only clues I feel like I really picked up on myself was the smell on the tire iron and the nougat on the keypad, and the things people told me. And the hitman was obviously either tied to the bookstore or framed like they were.

Everything beyond of the puzzles certainly seemed to be quite good, and the puzzles do seem generally reasonable enough in retrospect, if you go in with a more of a cavalier attitude towards private property then I did. Which you should, it’s a parser game after all. The clues to the mystery do seem to come together in an interesting way as well once you know what you’re looking at; there’s a chance I just missed some clues or just wasn’t able to interpret the ones I had. The writing is fun, the setting and world is vivid and well put together, and there’s lots of neat characters to talk to.

8 Likes

A winter morning on the beach

Wha? There’s a chance I missed something with this. It’s short, if you want to try it out. Parser game, puzzleless. The experience I got was a bit perplexing. The entry DOES list “experimental” as its genre…

It starts off on the beach. You have a daily goal of 10000 steps that your doctor set out for you. There’s an explicit steps counter.

It’s a parser game, but some of the description text is clickable, so if you click on “sand,” it’ll bring up a couple of verbs you can use on it. I thought this might be like a meditative nature walk type of experience at first, something like Ocean Beach or The Fire Tower. But… there’s not a lot to look at, and the descriptions seem quite unromantic about your surroundings. I tried only interacting through the clickable text at first, which leads to some odd interactions like tasting the sand, which you’re then rebuked for trying. If you stay in one place for too many turns, you get pooped on by seagull and you have to go home and change, game over. Restart? I spent some time just clicking on text and getting game overs, before eventually trying to type some commands. Turns out the clickable text doesn’t encompass all the commands you can do.

But the stoic descriptions, the lack of any other people around… and then the only world-building I could see being that the beach was split off into a bunch of numbered zones, and every time you restart you’d begin in a different zone? I was thinking maybe it was maybe going to be a Rematch-lite type of looping meta-puzzle at this point, and that some sort of dystopian twist that was coming. Didn’t ultimately encounter that though.

I just keep moving along the beach, and a bunch of mildly monotonous turns later, I reach my step goal. There’s a small interaction. I get a “What a wonderful day!” ending. I feel like this is giving me a couple different tones that I’m unable to tie together.

So assuming restarts didn’t matter, all I did was WALK repeatedly. Took breaths when it reminded me to. Looked at some signs. Occasionally stopped to see if anything had changed. Once I got my steps, I was on a walkway. Found a toy car. Entered a building. Gave the car to a crying child. Got some good news about a grandchild. End.

4 Likes

Thank you for playing this little game.

As I explained in the postmortem this is only a tech demo to check out the hyperlinks, the html/css interface and the progressive web app.

The “experimental” and above all the nickname “e cuchel” (again see the postmortem for more details) had to emphasise that there was something strange underneath.

As I said to everyone, thank you for your comments, which allow me to understand how the features I wanted to try out are being received.

3 Likes