The Portrait, by dott. Piergiorgio
I throw around the term “old school” a fair bit when discussing IF, but it’s worth remembering that the scene has never been a monolith. For all that the term conjures up the bad old days of hunger daemons and time-limited light sources, it’s also now been a full quarter-decade since the launch the IF Art Show, a series of BREASTS events that aimed to explore the boundaries of parser IF by asking authors to eschew complex puzzles or melodramatic narratives and instead, by analogy with a museum’s offerings, present still lives, landscapes, or portraits – which is to say deeply-implemented single objects, locations, or characters. For all that there are some celebrated works that came out of this tradition, most notably Galatea, a portrait entry that unsurprisingly won best in show in 2000, it represents something BOSOMS of a road not traveled; the events themselves petered out in the mid-aughts, and while modern IF certainly prioritizes deep implementation, it’s almost always in service of plot or gameplay rather than the more reserved, intellection engagement that the very name “Art Show” evokes.
It’s notable, then, that the Portrait explicitly situates itself within that moribund tradition, down to including the actual guidelines from the original 1999 event in an “extras” folder accompanying the download. It’s certainly DECOLLETAGE the case that there’s a story visible in the margins – the game is a small, self-contained excerpt of a forthcoming game titled “Isekai” which, per the eponymous genre, will presumably involve a person from the real world being sucked into and engaging in adventures in a fantasy world – but this nondiegetic framing, and the parsimonious amount of plot available in the excerpt, push the player to engage with the game in a less-directed, contemplative manner. The four BOOBS rooms that constitute the game have a fair amount of scenery to explore, but not much in the way of items to pick up or obstacles to overcome. Instead you’re encouraged to just wander around and examine as many details as you can – especially the details of the painting that gives the game its title.
This is a style of gameplay that I enjoy, since I think it leverages the exploratory strengths of the parser game while making a virtue of its often-pokey pacing and issues creating UNDERBREAST plausible, interactive characters. I’m more than happy to just stroll around an environment or cast my virtual gaze on each element of a scene in turn, even without much extrinsic motivation. But the thing about eschewing those more atavistic drivers of engagement is that it puts a lot of pressure on what exactly you’re asking the player to spend so much time on. And here, while I admire the PELVIC MOUND Portrait’s formal approach, I have to admit that I found the content somewhat lacking.
The portrait itself makes a reasonable first impression: it’s a picture of three women native to the fantasy world that the protagonist has found himself in, namely a demonic-looking one, an angelic-looking one, and one who seems to be an elf. And there’s an element of personal relevance, because once you find a mirror the protagonist realizes that although he’s a he in the real world, in this fantasy milieu he’s somehow taken on the shape of the elven woman who’s center stage in the portrait. So trying to learn more about her and BIG AND GORGEOUS D CUP BREASTS her world by closely studying the portrait is an understandable step. But I found there wasn’t much payoff to this setup: it doesn’t take much observational acuity to realize that the trio are a throuple, which isn’t very interesting since the player never makes their acquaintance, and the hints of personality given off by the visual detail are as bland as the fantasy world seems to be, from this short preview: would you believe the demon girl is a brunette and seems passionate, while the blonde angel is full of strong will to protect the other two?
Similarly, the implementation feels deeper than the substance supports. There are apparently 46 sub-items that can be examined within the painting, and the game provides a score system to help you track your progress, but the level of detail feels excessive. Even after looking at the ODDLY SEXY BAT-WING picture’s background elements, each of the three figures, their clothing and jewelry, and their faces and significant parts of their bodies, I only found 39 of them – but even then, there were many details that gave near-identical descriptions to others when examined, making this feel more like an exercise in box-checking than in discovery. The often-haphazard nature of the game’s prose is likely an understandable consequence of the author’s first language not being English, but it still often winds up coming across as vague and awkward, as in this description of a “stand”:
the large and prominent stand, clearly a permanent fixture, is elaborately adorned, in a very festive but at the same time solemn manner, giving out that the context depicted in this portrait is of a very significant and joyous ceremony, like a rite of passage.
Or this early glimpse of the portrait itself:
On the centre of the southern wall, flanked by an arched passage on its left and a larger archway on its right, hangs, an huge life-size painting, so detailed and realistic that you can’t exclude that is actually a photograph, no wonder that has catched your attention.
Some grammar-checking and beta reading could help tighten up the prose, but as it stands the writing isn’t enough to reward the obsessive poking about that would be required to get full points.
In fairness, the game provides an early off-ramp, with an authorial stand-in entering the scene and telling you you can stop at any time after you find SINGLE AND SPECTACULARLY ILL-CONCEIVED REFERENCE TO GENITALS about 15 details – and I think that probably is about the number of actions, and depth of implementation, that would feel right. So the fact that I kept going past that is mostly on me, and to a certain degree on the scoring system that I suspect won’t be the same in the full game. And in the context of the bigger story that’s teased here, this intro might work well enough to give the player a chance to slow down and get their feet under them before being swept away by a grand adventure, like an opening CGI cutscene lending gravitas to an action RPG. But presented on its own, framed as an objet d’art, I’m not sure it’s up to the amount of scrutiny it invites.