Dgtziea's IFComp 2025 Reviews (Lady Thalia and the Case of Clephan / WATT)

The Little Four

A quite cozy little slice of life parser game. You are captain Arthur Hastings, close friend of famous detective Hercule Poirot. In the intro, instead of one of their more famous thrilling mysteries, Hastings is reflecting back on a normal day in his life during a period when Hastings is staying in Poirot’s flat, in the guest bedroom. The flat below is owned by Hastings, and houses his four children. And on this rather run of the mill day, all you’re doing is getting coffee, walking the dog, watching over your children, and maybe meeting with Poirot before the day is done.

Though you do have some small tasks to perform through the day, this is much more about gradually exploring the two flats, and admiring and reminiscing about all the things your life has filled all the rooms with. There’s very few verbs needed other than moving around and EXAMINE. You might examine a photo, or Poirot’s walking stick, or the toys in your children’s bedrooms, and each item gives a couple sentences of attached memories. The item descriptions weave together a quite lovely tapestry of the lives of Hastings and some of the people closest to him. As personal preference, I do generally think that four+ sentences is a bit long for an item description, especially considering in this case how many rooms full of things to look at there are, no matter how vivid or imaginative the prose is. But then I’ve played some really well regarded parser games before which I also thought had rather long and dense descriptions for my tastes, but which other players specifically praised for their writing. Shrug.

Objects you haven’t examined yet are bolded, and directions are italicized. The task I’m trying to achieve was always listed in the status bar at the top of my interpreter as “Current objective” which was also helpful. The tasks do an adequate job shuffling me around the rooms, but it’s only when I think back on it that I recall the tasks as a whole and how they sketch out the whole domestic day in the life aspect of the story. During the actual playing, the focus always felt like it was more on all the fond anecdotes found in all the rooms, while during the moments when I was actually doing the tasks–things like getting your morning coffee or walking the dog–the description of the tasks as they were being done flashed by in a couple of brief sentences, almost like they were being fast forwarded through. There’s a nice anecdote if you examine the coffee maker, but I did feel like some of the tasks could’ve used a more physical presence from the player, or maybe a bit more dwelling on the moment, just some sort of pacing to make the few tasks Hastings was doing that day feel like they took up more time and space.

There’s nine tasks in total, and the last couple did feel more involving. The vital one is, after checking in with your children, going and meeting with Poirot along with one of your sons–the one that looks up to Poirot the most. Poirot sets a small mystery for the both of you to solve, and it’s a really nice moment. I did spend more time than maybe I was supposed to poring over the rooms and re-examining things I’d already examined looking for clues, but I figured it out in the end. One thing I did wish was for it to feel a bit more collaborative with my son when we were going through the rooms; I tried talking to him a couple of times and he just repeated his one general response, and he never commented or was described as looking through the rooms in a way where he felt like an active participant during my clue gathering. He only came alive when I returned to Poirot with my deduction.

But the overall sentiment, of us spending time together on a mystery devised by a man that meant so much to the both of us does carry through, all the way to the end of the day. It’s the warm atmosphere created in all the small sincere stories in the things you examine, and then the last third or so of the tasks that really binds this all together.

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WATT

Twine. A surreal, metaphorical journey.

You find yourself in a mysterious town, with no memories. An omnipresent voice (God? you wonder) tells you are the chosen one, and you have to pass seven trials before the day is done in order to save the world.

I found this uneven, though parts of this were intriguing. There isn’t a lot explained at the beginning, without enough of a story hook introduced and with a narrative voice I disliked (an early line like “Great. Not only are you lost, but now you’re some kind of chosen one” just felt too much like a flippant wink to the camera), and as a result I found it a bit hard to get through. However, by the second half of the trials, the writing does become stronger. Tonally, the beginning and the end feel like slices from completely different source materials. Looking back, I can see the vision a bit better, but in the moment, the journey starts off rough and isn’t able to completely regain its footing by the end, though it does some interesting things.

The basic thing is that there seems to be a large focus on the overall structure of the trials which comes through (I figured out what this was going for at around trial 5), but less focus seemed to be on structuring this like a story being experienced linearly by a reader. The goal of why you’re finishing the trials to get to the lighthouse is internationally a bit abstract, but that made it hard to want to keep pushing forward. There’s no characterization in the early stages and then a lot of characterization in the end. Maybe if the intro into the first trial had established different tonal expectations and made me start to look at things through a more surreal lens instead, given me a hook that made me want to follow along on the journey being told a bit more, I think that might have helped? As it is, I thought this was going to be a comedic, slightly meta game with a tone that was just a bit too irreverent to take seriously based on the beginning section, and that’s thankfully not the case by the end. I think I could even see the starting writing style being an intentional reflection of the central metaphor of what the trials represent, but that isn’t clear in the moment. The second trial felt whiplash-y as it stands (a sudden shift into generally much more sincere dialogue, with a way too quick romantic connection), but I could see, given a different framing, how it could have felt like a more metaphorical scene.

In the later trials, there’s a sense of greater depth and sincerity. The ending felt quite ambitious and went big, and although I didn’t quite connect to all the emotional heft of the moment, I was able to sense what the story was going for then, unlike at the beginning. There’s some good moments and ideas scattered throughout: the surreal tone at points, the metaphorical structure, the choices in trial 4, and some of the writing in the latter stages which is much more solid, and comes off way more earnest. Ambition here, and I think I can see some intention behind some of the stylistic and narrative choices in retrospect, even if they didn’t fully connect.

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Lady Thalia and the Case of Clephan

This is number four now in a series of fun Twine games involving lady thief Thalia. I’ve played the first entry in this series and also started a bit of either the second or third one without finishing it. The exploits of Lady Thalia have always been high quality, with well-written repartee between the characters, action sequences, and some excellent observation-based and dialogue-based puzzles, as you bluff your way through restricted areas, case joints, break locks, and escape with your loot.

Apparently quite a lot’s happened in Thalia’s life since I last checked in, as she’s hung up her thief’s gloves and instead defected to the other side of the law to join a detective agency started up by Mel, the rival cop that’s been chasing after her for so long–and also someone who she was lightly flirting with in the first entry (and I presume since, but I don’t know) during their various cat and mouse encounters. Their dynamic was a joyous highlight (I nominated Mel for the XYZZY awards best NPC from that first game for that year) so I was really interested to see where this change in status quo would go.

Thalia hasn’t quite adjusted merrily into her detective career yet. It seemed that Mel has only been assigning her to desk duty and menial paperwork. What a comedown from the thrill of the heist! Thalia finds herself a bit restless.

But things pick up, as soon a copycat Lady Thalia emerges in the night, running around and committing crimes. Mel and Thalia are on the case to catch the counterfeit cat burglar, which gives them all the excuse needed to start breaking into various places themselves in order to catch the wannabe thief in the act.

Gameplay wise, the game proceeds similarly enough with some of the already well designed systems as in the first entry and with a few new wrinkles added at times (a section where either of them can intervene during a conversation if it isn’t going well, for example). Thrilling as always, with the best sequence involving having to hide and retrieve some tools. There’s more action sequences and I did vaguely miss having one more stop-and-think puzzle section during later break-ins; there’s some riddle type things during what is basically the tutorial heist but none really after that. But the action sequences are thrilling as ever. As always, I like how this series challenges the reader to pay attention to text descriptions: to say the right thing depending on how other characters act and react, to really look at the description of rooms and doors when figuring out where to go during a break-in.

I think having missed entries 2 and 3, I made some assumptions and misjudged the central relationship between Thalia and Mel a bit. My vague recollection was that they’d confirmed at least a bit of genuine romantic interest with each other by the end of the first game. I thought they’d perhaps agreed to start up a detective agency with each other with at least some understanding that they were trying to have a relationship with each other, and that was part of the draw for Thalia. That maybe turns out to not be the case! There’s more tension between the two more than just Thalia resenting the rather more mundane detective life than she’d perhaps expected, or after their first investigation, Mel holding some suspicion about whether Thalia herself is involved in the copycat crimes, which sows distrust between the two. I thought they were primarily a bit distant because of those two things, but it slowly comes out that Thalia herself might also be part of the issue. There’s a nice moment in their relationship between them later, a heart-to-heart, as they both take some hopeful steps forward.

What should a sequel aim for? Do you want the same thing, something reliable and familiar, or do you want to see something different, something grow? I did miss the breezy lightness between Mel and Thalia from the first game, and this is true for one of Thalia’s other constants as well, in the after-heist conversations. Relationships and headspaces have changed, and the scenes with both Mel and Gwen (and Gwen’s replacement) are generally a bit more frigid, as Thalia’s struggles with her job and her relationships color this entry a bit greyer. I felt some of that missing levity, but I did still like seeing this go for something different; Thalia isn’t content to just ride out her days doing the exact same thing, she’s willing to put herself somewhere new, and seems willing to finally accept and learn from her missteps and faults by the end. I’m eager to see what’s next on her journey.

scores I got

6/9 (messed up all the convos except the man who was eager to tell ghost stories… got lost a bit with the doors, lost time to nightwatchman, threw myself out the window)
9/9
6/10
(I think I missed noting down a score somewhere since it doesn’t add up to the final one below)

Thank you for playing Lady Thalia and the Case of Clephan!

Your final Finesse score, demonstrating your ability to break into buildings and locked rooms with panache (but only for the most virtuous of reasons, usually), was 26 out of a total of 33, earning you a rank of skilful thief-detective.

We hope you have enjoyed the show!

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