Dgtziea's Spring Thing 2026 Reviews (Latinorum / Strings: a (bug)folk song)

Competitions Spring Thing
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Spring Thing! Thanks to mathbrush for organizing, and appreciation and congrats go to all the authors that submitted. As always, my hope is for people to just keep on making stuff and to continue honing their craft.

Reviewed:
The Missing City Council
The Perilous Plot
Maybe you’ll respect this dead person instead
Our Lady of Thorns
23 Minutes
The Universal Robot (Assembled By Hex)
Strings: a (bug)folk song
Latinorum

The Missing City Council

This is the first interactive fiction piece from the author, according to their comments for their entry. “You’ve got to start somewhere, right?” they write. That’s true! As a piece of parser IF, this has some issues: things are implemented incorrectly, players are unlikely to solve it without a walkthrough, and it doesn’t seem like it’s been tested much. Their comment indicates the author might be aware of some of this. Instead of just reviewing this as an entry, I’ll try to write about it as a first time project.

It’s a PunyInform parser game. I remember looking at the PunyInform docs before and seeing that they recommended authors be familiar with Inform 6 beforehand, which indicated to me that PunyInform maybe isn’t what you’d want to start your very first project on.

As a first time project, I like that it’s quite small in scope. It’s just stairs leading up and down a multi-level building and then a room or two on each floor. There’s just one major puzzle, a few items. The story coherence and plausibility of the world isn’t there, but for a starting project, you shouldn’t get slowed down worrying about that sort of stuff anyways in my opinion. Just make the first things that come to your mind, implement something simple, then think of something else to try implementing. This has locked doors, hidden things, things you have to put in other things, state changes, NPCs. It’s got an elevator which isn’t very useful for the player (there’s stairs) but it’s a good idea as a thing to try to implement as you’re learning. This is all good first project stuff. The problem is that this just wasn’t quite ready for submission yet. It needed to be worked on more, and tested, and iterated on, and polished.

The biggest issue is that code wise, everything’s been declared as just an object, including stuff that should be scenery or doors, so they’re all just listed as items in each location (I’m basing this off what I know from Inform 7). There doesn’t seem to be directional movement at all, either; you just enter and exit rooms within rooms. So some of the facets of the language seemed to have been not utilized. I could just pick up the city hall in the starting locale, and then enter it! Your actual goal is to get into the room that’s blocked by some guards, and the guards like a good cup of tea. The guards don’t tell you that, though. The descriptions of some of the main things you need to interact with could be written to better indicate how they fit into the puzzle (could tell the player the cup of tea is cold, for example). I like a puzzle that involves what’s in the register room; it’s creative, it’s just not communicated well to the player in terms of feedback or description. The solution to how to enter the register room is something that doesn’t seem like it’s clued at all though unless I missed it, and there’s other guess-the-verb issues as well. Some missing descriptions. There’s also one step which seems to be rely on some specific real-world knowledge to know why you’d want to do it, involving oil (I did read an article about Starbucks adding oil to their coffee in certain countries, and that’s where I learned its alternative use. Ah, from googling it now, castor oil in particular is apparently specifically known for that purpose)

The creativity and ideas behind the steps in the puzzle are pretty good though, with a classic inventory puzzle structure where you solve some smaller puzzles to gather everything needed for the big overarching puzzle. The layout of the map and where all the items and things are is also well spaced out. There also seems to be a some fun ideas about what the story could be, in spots. There’s a foundation here, it just needs some more implementation work and player cluing.

Transcript:
council.txt (46.8 KB)

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The Perilous Plot

This feels a bit like if a board game were implemented in Twine, which is a neat idea. You’re a villain, of the cackling, evil monologuing sort, and you face off against two randomly chosen heroes each playthrough who are trying to foil your dastardly plans. There’s a system with stats, modifiers, and dice rolls, and you’re trying to either gain enough “plot points” or cause the heroes to faint enough times to win. There’s different rooms in your mansion that you’re moving around in, as well as different weather effects, and each hero has a set of rooms and weather they’re stronger or weaker in. Each turn you move to a different room and then choose an action to take.

The description writing is all quite good, and each hero has a fun little profile, like the “Nosy Neighbor” or the “The Lurking Groundskeeper.” There’s randomness in the weather and room combinations you’re given each turn, but I don’t know if there’s much that’s procedurally generated; the text generally seems quite specific and unique as it describes scenes and actions, so it seems like the author might actually have just sat down and written out a lot of text for every single combination, which is impressive, because there seems to be a lot. The blurb said there’s 40,000 words!

But I don’t think I fully understood the different actions, and what the strategic risk/reward for each were. There’s two stages of decisions each turn, which is which room to be in, and then which action to take. The hero strength/weakness system could’ve made sense on a physical board where you have to traverse a layout of rooms and there was positioning or path-finding involved (for example), but here you’re given a random pair of weather-affected rooms to choose from (a library under somber clouds, or rain-drowned orchard trees, say). I never saw a reason to not just always go into the rooms the heroes were weakest in if possible.

There’s different sets of actions to choose from. But although the explanatory text tells me failing during “watch and wait” actions wouldn’t weaken my gaze stat, the text kept telling me my gaze power was decreasing anyways. I found it hard to tell why I would choose certain actions, like the two different watch and wait ones, which results wise, seemed roughly similar.

spoilery explanation of my strategy

Part of that might be how I was playing. After losing too many plot points and failing on my first playthrough while trying to get a handle of what all the actions did, on the second playthrough I just focused on trying to win. I would look out for rooms the heroes were weak in, and gloat to cause them to faint (this would succeed most of the time). otherwise I’d just search or use items, as the item actions didn’t seem to have much of a drawback. I only used an item successfully once, the will in the study, and it also just caused the heroes to faint I’m pretty sure. I also glared sometimes, but it didn’t seem any more rewarding than gloating. At some point later on after successfully gloating I could choose between stealing items from the heroes or just making them faint, and I did steal both items from them. I eventually gloated my way to victory (a bit of a monotonous one, because of my strategy).

A lot of the underlying systems are obscured so it was hard to tell, but I feel like I was losing plot points relatively quickly my first playthrough, like losing plot points for failing glares, for example, but I just started the game a third time for a quick test, and I couldn’t find any failed actions that loses me plot points anymore. Perhaps the heroes or the items they carry also affects this?

It’s a really cool setting and concept with a bunch of fun writing and scenes, I just didn’t understand the strategy layer. I think I did gain a plot point at least once, but I couldn’t tell you how I’d go for a plot point victory instead of a fainting one. There seems to be quite a bit of work and thought put into this, so hopefully it keeps getting worked on.

an action which seemed to both succeed and fail, possible bug?

The path is dappled with moonlight, patterns shifting with the breeze, causing you to feel dizzy. The moon is particularly bright tonight, penetrating through the thick foliage to shine light in the darkest of places, yet you do not feel safe here. Hopefully the heroes will not notice you.

You move through the forest without trying to stay quiet. The nosie of you crunching through the leaves is eerie, clearly bothering the heroes as much as the moonlit shadows disturb their vision.

‘You are outside your property!’ The heroes point out, ‘You have made the first of what will be many mistakes!’ They taunt you, as you realize you truly are beyond the boundary, and safety, of your estate.

You are cautiously optimistic.

Your dastardly presense causes the heroes to faint.
Curses! Your plot has been set back!

playthrough 1 end stats (lost)

Plot points: 0/11
Your gaze is Smouldering
You caused heroes to faint 3/13 times
Locations visited: 16/20
You have seen: the Study, the Drawing Room, the Laboratory, the Garden, the Attic, the Colonnade, the Country Road, the Balcony, the Bedroom, the Hallway, the Lakeshore, the Library, the Ruined Tower, the Stables, the Bridge, the Terraces
Weather experienced: 8/10
Last Month’s Forecast: Misty, Stormy, New Moon, Sunny, Cloudy, Snowy, Foggy, Downpour
Mirror-like objected glared into: 0
Items collected: 4/7
Hero items stolen: 0/2
You are holding: Deadly Gift, False Correspondence, Items for Blackmail, Token of Affection

playthrough 2 end stats (won)

Plot points: 5/11
Your gaze is Fiery
You caused heroes to faint 22/22 times
Locations visited: 19/20
You have seen: the Forest Path, the Grand Staircase, the Secret Room, the Bridge, the Hallway, the Colonnade, the Attic, the Balcony, the Bedroom, the Laboratory, the Drawing Room, the Library, the Orchard, the Country Road, the Garden, the Study, the Lakeshore, the Ruined Tower, the Terraces
Weather experienced: 10/10
Last Month’s Forecast: Sunny, Cloudy, Moonlight, New Moon, Stormy, Windy, Snowy, Downpour, Misty, Foggy
Mirror-like objected glared into: 4
Items collected: 5/7
Hero items stolen: 2/2
You are holding: Book of Lords, Mind Control Serum, Poisoned Wine, True Will, Warning Note

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Maybe you’ll respect this dead person instead

Short, light adventure fantasy with guilds, monsters, swords, magic, written in Twine. You’re a summoner, and you’ve got four spirits with you, a varied bunch including a charismatic warrior and also a huge writhing tentacle monster. At various points during your adventure, you’ll need to choose which spirit to summon for help, including having them talk to people for you and also having them fight. At one point, another character asks you why you summon the spirits to speak for you, and I deliberately chose the tentacle monster, the one spirit of yours that can’t talk to answer, and I (predictably) didn’t get an answer.

The writing is quite fun and keeps things moving along, so even though it takes a few screens to figure out what’s going on, the writing kept me entertained throughout. It turns out you’re trying to join a hunter’s guild in the capital. Except you yourself are not a warrior, so the guild master is quite reluctant to accept you. But that’s not going to stop you, is it?

This does seem to assume I had a better handle on the characters than I actually did sometimes, and some of them might’ve used a bit more introduction. There’s a early sequences when you’re ordering drinks for all the spirits, and then later in a cave where you cycle through each of them for various things, where I think I was supposed to be learning about each spirit, but it was only just before a battle started that I realized that I knew next to nothing about one of them, Kara. Oh wait, they’re a giant with a sling?! Huh, maybe I wasn’t paying enough attention earlier on! The choices during the fighting did seem at least a bit forgiving so whether I knew enough about their skillset didn’t matter too much, as even though there better and worse choices, it’s not like you’d get an immediate game over. So I could just enjoy the action which is described pretty well, like when a character suddenly pulls out a giant, awesome flame sword(!).

A few minor issues with sentence clarity, like there’s an early line which I had to re-read a few times to parse correctly: “The perpetual lava falls on the cliff face backlight the marble white city in the evening light of the setting sun and the planet’s orbiting rings.” I was reading “falls” as a verb and not a noun, same with “face” and “backlight” also being a bit grammatically ambiguous.

“You” are a summoner, but there’s also an “I” in the story, one of the spirits, which was a unique storytelling choice. Most of it is second person narration, but whenever you summon that spirit, they start describing their own actions in first person. Occasionally slightly disorienting like in a scene where that spirit was talking to the guild master and the dialogue didn’t have any dialogue tags indicating who was speaking. Even when not summoned, they’re still able to describe what “you” the summoner are thinking and feeling, which made me think about if that meant all the spirits were emotionally attuned to the summoner. Oh, also the summoner is basically a blank slate, which a lot of IF does use of course, so you don’t learn much about them. I only really noticed when the guildmaster takes one look at you and rejects you–I briefly wondered what the summoner looked like that would make the guildmaster react that way.

There’s basically two types of choices in this, choosing spirits either to talk or to fight, and I especially liked the talking ones, because I liked just trying to pick the least suitable spirit just to see what would happen. The action was written well and creates stakes, but I also really liked just throwing them into social situations and seeing the spirits interact with others in humorous ways. It’s a lively set of characters, and I’d be interested to see more of their adventures and how they develop.

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4

Our Lady of Thorns

Thoughts in another thread

23 Minutes

This is a poem in Twine that mimics a stream of consciousness during a morning commute. First person writing where you inhabit a specific character with specific anxieties and relationships and history. As you progress through the text, the background changes, and it really feels like you’re moving forward through London. A bit like if you go to Street View on Google Maps and move around. It’s possibly even actual photos taken by the author, blurred out a bit, as they walk along? It’s not short, I think this might actually be going for 23 minutes worth of text/thought. (Looking at the blurb, the author calls this a “real-time digital poem” so yeah, it is). Note that there’s a lot of clicking involved in this, or pressing the space bar, to progress through the text line by line.

The changing backgrounds are great, and it serves a neat effect, a genuine sense of movement.

This poem is all basically inner monologue, and though people might all think a bit differently, for me at least, it didn’t come off as… thought. It’s often not full sentences, but more like bullet points, a couple words at a time, beat by beat. The words wind their way across the screen, sometimes left aligned, sometimes right. Snippets, asides, sounds. You click or press space to get the next bit of text.

Every evening
retrace my steps
back down the same road
the same distance
swept along by the tide

Click for more thoughts

(Actually, that’s a more conventional bit of writing than some of the rest) What the text reminds me of… is something like the song Filter Happier by Radiohead. Part of that is a general malaise as the protagonist tries to focus on their life. But Filter Happier was comprised of mantras. The protagonist here also has some mantras, as they remind themselves to breathe, to remember to do chores, but Filter Happier was meant to feel a bit alien, a bit dystopian, while here, this feels like it’s trying to feel like the normal interiority of modern life. Maybe someone like George Saunders also sometimes writes in more clipped prose a bit like this, but that’s more narration, and again, generally Saunders is going for a sense of abnormality and dystopian anxiety, a like, refracted viewpoint. I could be wrong, but I feel like 23 Minutes is going for relatability and commonality, for the reader to emphasize and recognize the protagonist’s worries and struggles. Or okay, how about this one: I read Iain Reid’s I’m Thinking of Ending Things a couple months ago (it’s a book where the protagonist is thinking about breaking up with their partner during a road trip, and yeah, it was adapted by Charlie Kaufman into a Netflix movie). In that book, it’s all inner monologue, and I was amazed at how it really did read to me like how a person thinks, in how it flows and flits and compounds and ends up a world away (but again, maybe people don’t all think the same). The thing with the movie was–oh wow, I’m really going on a tangent in this one–was that I was always looking at two people in a car. It became more about their awkward presence with each other, and the inner narration as we zoom in on the protagonist in the movie just felt, I don’t know, more unreal, staged? Most of the book felt like it didn’t take place anywhere; it took place in the protagonist’s mind; their thought process envelopes you, brings you along on a journey. In 23 minutes, I was always aware of my mouse clicks, and it kind of stutters along at the rate of my clicking, instead of flowing like thought.

It also felt a bit too long. The beginning is gradual, small worries about life (did I forget something at the office?), about commuting. Which was fine, I was settling in, getting used to the background effect, some onomatopoeia, the left/right text; it was all creating a tone. Eventually, the thoughts start delving into Maryam, the character’s partner, and there was a great couple of lines in there that completely sold me on the relationship (I should’ve copied them, this is one of those things a review could quote!). But then, it settles back into more meandering a bit about everyday mundanities, and I got a bit restless. And then it starts exploring their relationship with the father, and worries about fatherhood. But I think perhaps these two threads, with the father and a baby on the way, needed more specificity? They felt like backstory, like something I could broadly understand about the character, but not something I could emotionally connect with, not in the way I could the relationship with Maryam. There’s some pivotal scenes near the end, but the father just still felt a bit abstract. Or maybe it’s just the long part in the middle; this feels like it does follow a narrative structure, but then it stops building momentum and dips a bit too much.

This is more a random thought, but I wonder how a first person graphical version of this would come off. Like, if you just had to control this person as you walk along and wait for public transit, and all you do is look around at all the people around you as you walk or wait, as the inner monologue in this proceeds in the background. If I could distract myself in the 23 minute commute, instead of only just having the text and my mouse clicks to focus on, like how the protagonist also gets distracted. This isn’t a complaint, or saying this should’ve been a different type of (way more expensive!) interactive experience. The tangent about I’m Thinking of Ending Things is just making me think about different media.

Actually, actually! There was an IFComp entry called Salt (Salt - Details), in… let’s see, 2017. The author went on to make Citizen Sleeper. I thought Salt was decent, but it had a mechanic where you’re in the water and have to keep pressing spacebar to swim, as prose automatically appears if you keep the right rhythm (I’m pretty sure that’s roughly how it worked). Truthfully, the spacebar never quite evoked swimming in Salt either, but maybe it works for something more in the background like walking, a way to decouple thoughts from steps, which is what the mouse clicking is trying to mimic in 23 Minutes? Or maybe just pressing down the key, like up or W to keep moving forward and progress text, how might that change the feeling of this? Better, worse? There are parts of the clicking in 23 Minutes that work really well, like when it repeats lines, or the bracket step sections which feel a bit like section breaks, or how certain asides show up on the right. Just throwing ideas out there, I think this was interesting.

I appreciated the experimentation, I really liked the background effect especially. It lost me in the middle a bit, and I think the strongest written parts involved Maryam.

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The Universal Robot (Assembled By Hex)

Another great little–uh, did we ever settle on a term, uh, choice-based game with a world model? :grinning_face: – from the author. Puzzles, inventory, moving around locations, all in Twine. It’s basically a choice-based adventure game, different interface but otherwise of a kin to text adventures and point-and-click (graphic) adventures. The story’s a bit more subversive than the author’s other works, which often skew more child friendly; this one’s probably still fine enough for children, but there’s a bit more of an anti modern capitalism vibe here, as you’re a worker tasked with building the robot that will immediately take over your job. Still a generally light tone, just a bit more pointed than something like the Bones of Rosalinda. Feels shorter than that one, although there’s also multiple endings to collect here.

Inventory puzzles, then, well designed ones. After what’s basically a well disguised interface tutorial in the first room–you have to figure out how to interact, and how to use inventory items before you can leave–you get out and start exploring, with a clear objective, as the robot kit you’re assembling is missing two distinct parts you have to find replacements for. Explore the fairly compact map, talk to the various fun NPCs you see, pick up some objects, and then structurally, there’s a bottleneck puzzle at this point (getting into the boss’s room, which itself has three smaller sub-puzzle steps) which you solve to progress the story and open up a couple different puzzles and interactions after that. The best item is an invert-o-tron you find which reverses the function of any device you combine it with, which is an extremely fun gizmo to put in a game like this, and which also ups the amount of creative possibilities for the player to consider.

Click for more text

From this author, Bones of Rosalinda and Chuk and the Arena were both longer and relatively linear and event-driven, from what I remember. As in, you solve puzzles to triggers events and proceed the story along. Chuk and the Arena stayed on the same map for the most part while slightly changing NPCs and objects around between pivotal events to create new puzzles, while Rosalinda would push forward into new areas. The Universal Robot and Plasmorphosis both are shorter games, and seem to do a bit of what Arthur DiBianca also does in their games, which is give the player a shorter main story and then have some optional, harder puzzles if the player wants to keep playing. Plasmorphosis had you scanning things on the planet in a bit of a collect-a-thon sort of way, with a few scannable things off in slightly more complicated to reach spots. Here, The Universal Robot has multiple endings to see, for example if you try sabotaging the robot before you hand it over. The most straightforward ending is still satisfying and provides a decent but not hard adventure game challenge. (I remember looking up hints in the Rosalinda games, so I’d expect getting ALL of the endings here won’t be easy). After getting the first ending, I restored some saves and looked for a few others, and I saw, I think, endings 1, 2, 3, and 6 before stopping.

What else? I fell down a rabbit hole and started looking at and thinking about choice-based interfaces lately, but maybe I need to collect that into a separate post (if I feel up to it) instead of throwing that here. (What would a “better” adventure game interface look like? Part of that rabbit hole was also re-reading Guybrush’s Heirs on The Rosebush, go read it if you haven’t). My favorite bit of interface here is how it sometimes handles clicking on objects: it pops up another smaller dialog window of text that you can easily click back out of by clicking anywhere. I feel like the pair of Rosalinda games used this type of popup window even more, like for objects which would get described and then you could also perform actions on, like picking them up. In comparison to links which bring me into a totally different passage, they feel more like I’m staying within the location. (also this might be getting deep into the weeds, but the dialog windows did noticeably feel better for like, eyeline readability as well. Actually, testing it a bit more… if I’m in Gizmo Storage and click on the “acid pool,” Gizmo storage has a location header (it says Gizmo storage in large header text at the top), but the acid pool passage doesn’t have a header so the main text starts way further up the page, which means I have to move my eyeline up way more). Maybe it was especially going in and out of those sorts of separate passages, but it did feel like I was having to move my mouse and eyes around the screen a bit more than usual while playing this.

The Universal Robot should be one of the most polished and easiest to generally recommend games in the competition, appealing to players that likes adventure game style puzzles. Also I did really like the story framing; it creates a fun villain to work against, and a really good couple of side motivations to your main goal (save your job? build the robot? strike a blow against your capitalist overlords?). Just the few endings I saw were really fun. The player also has to be more creative if they’re looking for all the endings, since they have to figure out what their objective might be and experiment more. I’ll glance at the hints thread at some point to find some more endings.

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Strings: a (bug)folk song

Hmm, I definitely did start a draft of a review for this somewhere (didn’t I?). Can’t find it though, oh well, starting over…

So in the bugfolk IF universe, we now have Strings: a (bug)folk song, after Warden: a (bug)folk horror in last year’s EctoComp. Both written in Inform, in a neat setting with anthropomorphic bugs, light puzzles and generally user friendly (bolded directions, for example). One difference between the two is in genre, as Warden was more thriller/horror while Strings is cheerier, a bit more folk tale fantastical, as you’re just a musician looking for a band to play with, and music, has its own bit of magic. Structurally different as well, as Warden was a bit more linear and event-driven; as you completed objectives, that would trigger other things and days would pass. Strings has a more open puzzle structure, as you just have to reach, find, and convince four characters scattered around the small map to join you for a little concert later on, with each of them having their own little set of puzzles and hurdles.

Writing’s quite good! Especially when you finally reach the culminating moment for each of the four musicians and have to perform for them to convince them to join you.

This has a unique mechanic and set of commands, as your musical abilities come into play for puzzles; you can tune your instrument, string it with different objects, play single notes or full performances for other critters. I generally try to avoid reading other people’s comp reviews before writing mine, but by now I’ve seen other reviewers talking about initially missing these special commands. i didn’t, back when I played it–COMMANDS was one of the first things I typed–but since every player has to learn about all this, it does feel like the sort of thing I think games could just make a quick one room/one puzzle tutorial at the start for. (One-off specialized commands, I could see just leaving in COMMANDS).

puzzles

As for the puzzles: I first tried going up the tree, but got blocked by sparrows and kept looking around. After that, I recruited in order the musician from the marsh, the cavern, then the campfire, then the tree. It did feel like, played in that order at least, the puzzles for the first two seemed slightly more substantial than the ones for the last two. If I’d done them in reverse, it might have felt different I think? The underground one reminded me a bit of Hunter, In Darkness; it’s clearly the most involved puzzle in this. Maybe the swamp isn’t that much more complicated or different than the tree and campfire, and the latter two felt briefer just because I’d gotten used to the mechanics. But I think the extra step of just having the worms follow you over, then crossing the lilies, then the turtle appearing at the end did make the swamp feel a bit more eventful. One way to make it feel more balanced (to me) might be to vary the puzzles for the tree and campfire parts a bit more, but another way could be just stretching the moments and scenes out in other ways. The sparrow, unlike say, the turtle, seemed like something that was happening just slightly off-screen; I think it disappears without really feeling like my character really interacted with them, except by long distance. Maybe there’s a way through writing to make the bees and sparrow as memorable as the turtle and the worms. The campfire musician, meanwhile, and that whole scene and convo strikes a different tone than anywhere else, involving something a bit more surreal. I think I just wanted to just sit with and talk to that character a slight bit longer, that also felt a bit brief. I’m not sure why, but I felt the earth and the swamp and the feeling of connection in the performances in those places a bit more, in comparison to the performances in the chimney and the tree. Maybe it’s that the first two were (literally) more grounded, while the latter two songs and musicians seemed to grapple with something more abstract.

I also really liked the ending. (I did want to look out at the crowd while on the stage though, really feel like a performer up there!). But it’s a really nice scene, interaction, and moment at the end. There’s a couple scenes that seem like they’d be pretty hard to write in this, like that one, but they’re all handled well.

Got one achievement while playing through this normally:

Bravo!: Play music for 15 turns

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Latinorum

A Commodore 64 game, as in literally written for that system in 1985, now rewritten in BASIC 2.0. The browser version seems to be running on an emulator. I don’t know if too closely critiquing the design and work of someone from that far back is particularly the way to go; it’s a text adventure set in high school, with a two word parser, a clear objective, and a few small puzzles. The game makes it clear enough what commands it accepts, so not too many problems; I think my biggest stumbling block was not knowing I had to OPEN the toolbox. Besides that… a couple of samey classrooms where objects are hidden in nondescript places. But really the game itself is fine for what it is–and after playing around with Adventuron, I’m a bit more curious about the design within two-word parser games–but what I really liked was the background story and also all the photos from that era, all detailed on its own web page. The game itself is a small artifact, but it’s all the context surrounding it, the little slice of history that’s being shared, that I found really neat.

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Thank you for playing my story and leaving such a nice review.

It runs on VICEjs, a javascript version of the VICE Commodore emulator

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