Do I want to play more of:
Akkoteaque - YES - This felt like the beginning of a game the size of an Infocom epic. It seems there’s lots more planned. My main critiques: I understand the concept of having useful keywords highlighted in blue, but with the game this thoroughly implemented I would much rather have decided for myself what I wanted to check out. When everything is blue, I feel I must lawnmower through what the author has decided to point out to me. The keyword highlighting is good, but I’d like a way to turn it off. It should be off be default and activated if the player feels they need some help.
Also the game dumps you out on the dock where you have like fifty things to do - you’re expected to get on the boat to start the story but I have my possessions to examine and three characters to talk to and a feisty pelican with a puzzle and all of the highlighted keywords in the location and constant rain messages AND backstory to check out AND a fishing pole you can mess with or not…I was a bit overloaded. I’d suggest perhaps giving the PC one scene to herself prior to the banner drop so I can discover who she is and her attitudes (say she has to pack her suitcase for the trip) before dumping me into a ridiculously detailed location where everyone is standing around waiting for me. The pelican got impatient and solved his puzzle for me before I even knew there was one.
Best Laid Plans - MAYBE - This felt like a proof of concept for the author’s mechanic that a game would be built around. Moving scenery could be a really neat idea, but if I can’t pick up objects normally, than this is basically replacing my inventory. And I can only carry one thing. I don’t know how much of a game could be sustained if all I can do is move windows and doors around one at a time. The puzzle becomes “where do I drop this so I can pick up something else?” Neat concept though.
The Example of the Chicken Sexer - NO - This feels like a complete one-joke speed-if game. I’m not sure it needs to be fostered by the IntroComp to be completed. Unless that whole section was a prologue to a bigger game, but there didn’t seem to be any more hooks to hang more game on though. What was there was good, but seemed to be the complete experience. Unless he’s going to have to deal with the consequences in the afterlife of all the male chickens he sent to their doom.
First - NO - Implementation problems. Specific objects pointed out but had no description. I couldn’t get out of the seatbelt. The game didn’t like RELEASE SEATBELT, UNFASTEN SEATBELT, UNHOOK SEATBELT, OPEN SEATBELT - the last one just told me I was crazy. Why am I crazy for wanting to escape my inverted wreck of a car? Unless it’s going to explain why I don’t want to get out. The hook of starting in a wrecked car made me want to figure out what happened, but not if the game is just going to reply “You can’t do that” to everything I try.
The Vanishing Conjurer - YES? - This had a good amount of world set up. I wasn’t railroaded, but I wasn’t directed either. I felt like I was wandering through an area in Disneyworld where animatronics were bolted in place to say their three programmed lines to me and wait for the keyword to let me move on like a walk-through funhouse. The magic angle could be interesting, but … I don’t know. The writing lacks something…it feels like the PC should be invested in this case more specifically somehow. It feels very staid and formulaic vanilla IF with little tension or momentum; Here’s your exposition scene, here’s your quick search of a house, here’s the mansion with people who sit in place until you say one of their keywords. I can’t believe I couldn’t ask a houseful of magicians about MAGIC and get their philosophies at least. That said, this was at least a fairly good proof of concept that the author knows what they are doing, even if the game isn’t firing on all cylinders yet.
Werewolves Rising - NO - CYOA with sparse description, no atmosphere, and choices every three lines that barely feel like they have any effect on the world. CYOA needs to lean toward better writing since the interaction is streamlined. If the plot is going to tumble forward like this in choppity-choppity fashion, you need writing the calibre of FALLEN LONDON to make it worthwhile. I clicked through this game in about 8 minutes, during which I sold clothes at a market, was attacked by a werewolf, considered that I was a werewolf, witnessed my mother hanged in front of me, then acquired a potential love interest. I was told how I felt at every turn and not given any space to put myself into the shoes of the character by inference. None of it had any real story-weight.
What happened in 1984 - NO - A potentially interesting concept, but this was just a couple of rooms with nothing to really do.