Okay, so I realized that I don’t really know what a postmortem is or how to write one? So I’m just going to write some stuff about my game and you can ask me any questions you feel like.
ORIGINS
Mooncrash! Really has two* origin stories: The IF class I took at Portland State University, and the D&D campaign which preceded it.
*There’s a secret third origin story - we’ll get to that later.
Level 1: The Class
Mooncrash! began its life as an overly ambitious college project by a PhD student who really should have been spending all that time on her research (me). I was annoyed at first that I would be required to write a game in Inform7 instead of Twine for the class. Then, I decided that I should at least try to make use of the more expansive toolset.
I started with the personality test because I like Pokemon Mystery Dungeon, but also because it gently introduces the player to the headspace of a person going through an end-of-the-world scenario.
Because of the D&D campaign I based this idea on (we’ll get to that later), I knew that I wanted to have the player complete four different branches of this story:
- The Wildfire’s battle
- The Watcher’s project
- The Shroud’s infiltration
- The Fateweaver’s conversation
I tried to make each one into a different kind of IF mini-game, as sort of an exploration of the medium.
- A basic RPG
- An open-ended but relatively simple puzzle
- An exploration/inflitration… thing?
- A conversation with an NPC
I had imagined creating the unifying final section of the game as a part of the class project, but I actually didn’t finish it in time for the project submission. That came with the IFComp deadline - it gave me the push I needed to get the last part done, test it, and get it submitted. I wanted the player to be able to align with one of the Winds and send them each off in a fitting way.
“But wait,” you might say. “That explains why the game is mechanically the way that it is, but what’s with all of this weird stuff about dragons and wizards and magitech?” Well…
Level 0: The D&D Campaign
Mooncrash! was an epic-tier heavily-homebrewed D&D 4E campaign that I ran for a bunch of friends from Spring 2022-New Year’s 2023, so about 9 months. The personality test (ported almost exactly as it was into the game) was to be taken in-character so that I could assign each PC to one of five in-game factions (originally, there was an Unaligned faction, but it wasn’t that interesting so I took the relevant questions out - basically, they were just an “I don’t know” option for each personality test question that would count toward the character having no faction).
I ended up with so many players that I ended up running two parties in parallel (alternating weekly and never falling far out of sync - I am very good at Logistics/Scheduling). One group worked with The Watcher on Cool Magitech Science Stuff (and defending his wizard’s tower from invasion), while the other worked with The Wildfire to blow up demons and devils. A couple PCs were semi-secretly also aligned with The Shroud and helped her steal the Bad Blood (the bioweapon that appears briefly in the IF version), while one was a former apprentice of The Fateweaver.
I told the players that the world was ending in 5 days, and that the characters they made were formerly in an organization dedicated to preventing the end of the world. Now that that goal was impossible, the organization had dissolved into its internal factions, each headed up by a Wind (North/Watcher, East/Fateweaver, South/Shroud, West/Wildfire). Everyone went in knowing that their characters would be placed in extremely dire circumstances, would be guaranteed death within a few days, and would probably be backstabbed at some point by someone, as everyone was looking out for their own interests in the end. (I had guardrails put in place so that the backstabbing was all in-character and not an IRL social problem, but explaining all of that would be more for the benefit of a TTRPG audience - ask me if you’re interested in what that was about)
There was more OOC drama in that game than I would have liked, but overall, it didn’t ruin the thing. I won’t get into it, because it’s not relevant to the IF game.
The long and short of the plot was:
- First, the players uncovered the source of the end: Rituna, goddess of the Moon and lover of Krophine, goddess of the Sun, learned that Krophine had been fatally poisoned and was dying a slow, painful death. Rituna hatched an end-of-the-world plot in response (something something if she dies then no one should get to live anymore). She turned herself into a Necrotic/Necromantic nuke, more or less - when she died, it would cause a catastrophic explosion and wipe out ???everything???. It happened too fast to unravel, and so the apocalypse was inevitable by the time the party learned this, but they still had a few days before she would pull the trigger. They could maybe save a few people if they acted fast, but even if they killed Rituna right away, it would still effectively be the end of the world.
Here is what the party as a collective did, without getting into too many PC personal projects:
- The Watcher’s party successfully constructed a device to stabilize the world so that Rituna’s explosion wouldn’t, like, collapse the planar structure of reality. That was good.
- The Watcher’s party constructed a device that could filter out Necrotic/Necromantic energy from the atmosphere, despite The Fateweaver trying to subtly meddle with its creation (The Eldritch Comb). This needed to be placed near Rituna so that it would filter out the worst of her magic.
- The Shroud acquired a vial of Bad Blood to use on Rituna.
- The Wildfire’s party fought across The Light Bridge (inspired by the Øresund Bridge), and then navigated an army through a fey forest on the other side. The Wildfire was kidnapped by the Queen of the Dark Spring Court (long story).
- The Shroud led a small group of PCs (a oneshot group lol) to rescue The Wildfire, where it was revealed that she and he were secretly romantically involved. She tried to trade herself for him, but he went dragon-mode and got the party to break him out instead.
- During The Shroud’s rescue mission, it was revealed that The Hand of Fate had (some time prior to the PCs arriving) single-handedly genocided a different fey court for… reasons that are too complicated to explain here, frankly. (tl;dr to gain personal control over the court by leaving only winter-fey alive who were under his thumb, then to get free magic from them)
- The Fateweaver kept showing up in places and spiriting random civilians away to their Design. It was revealed by The Watcher’s party that they had been tearing holes in reality to construct The Design, and the party convinced them to steal… less of reality. The Fateweaver kept showing up in PCs’ dreams to try to turn them to their side.
- The PCs learned in-character that the universe they inhabited was fictional by contacting me (yes, hi, me) and asking some rather dangerous questions. Several of the PCs went mad. (I didn’t inflict them with this madness directly - their players are just god-tier roleplayers)
- The Watcher ascended like he did in the IF game, but took a couple PCs with him who decided that they wanted to keep him company.
- The Hand of Fate showed up at the last minute, as the party was going to place the machine they’d built for The Watcher. He killed and soul trapped one of the PCs, and he/The Fateweaver got another PC to betray a third, leading to a second kill + soul trap. He was knocked unconscious, but The Fateweaver convinced the party to spare his life and return him to their care. The Fateweaver agreed to be there to witness the end of the world.
- Most of the rest of the PCs died while setting up the Comb/battling Rituna (or had stepped off-screen on purpose for other complicated reasons), but a couple survived. One had been absorbed into Rituna (again, long story), and the other was just… still around. The Shroud and The Wildfire also survived until the end, having one last meeting with The Fateweaver.
- The two remaining PCs channeled part of Rituna’s explosion into The Fateweaver, but held back before destroying them entirely. One of them just hated The Fateweaver that much (so valid), and the other only helped to make sure that it would go well enough to still be able to save the world afterward. This made the explosion unstable, and whether The Comb was still able to contain it in the end was left ambiguous. The Fateweaver was grievously injured, but survived.
I am now running a followup to that campaign, inspired by Final Fantasy Crystal Chronicles. That game has been running for a couple years now. It is another heavily-homebrewed 4E campaign, but it’s more open-ended. I will only explain what has happened so far in that campaign if someone asks, because most people won’t care, I think. 
“Fine, fine,” you might say. “That’s a factual retelling of where the plot came from. But there sure is a lot of nihilism in here! And why all of the world-ending stuff? What’s the real reason you made this?” I’m glad you asked…
Level -1: The One That Got Away
From mid 2021-early 2022, I was involved in a very, very disastrous D&D campaign in which I made a PC that I loved. I will keep things vague, but those who were involved and close friends of mine know the campaign that I am talking about.
(Disclaimer: I am incapable of being a fair judge of the events of that campaign and its collapse. This is just my biased, vague memory of it.)
Due to a series of miscommunications and bad choices on my and others’ parts, my character ended up being tormented for ~9 months of gameplay, during which only a handful of in-game days passed. At first it was good fun to play the soggy little guy who reality hates, but slowly, my reasons for ‘enjoying the show’ of my character being tortured wore away. After 7 or 8 months, I’d had enough. After a fortunate turn of events in-character that neither I nor the GM had planned, I (sort of) put my foot down. I wasn’t having fun RPing all that horrible stuff happening to my character (who I had unfortunately grown to completely adore), and I wanted just one thing to go well for them. One plot point to go in their favor without a soul-crushing catch. The GM agreed to what I asked for to make that happen. Cool. Everything should work out, right?
Then, just when things were turning around and it looked like my character would get an extremely overdue conclusion to that arc and be able to move past it all, the campaign exploded for OOC reasons (again, partly because of things that I did, and partly because of things that others did). Literally one session before the climax of their character arc.
If you’ve never experienced something like that, please avoid it. Imagine if your favorite TV show got cancelled halfway through a two-part finale, and you couldn’t even justify writing fanfiction about it because you weren’t allowed to share it with anyone who would care. Certainly there are worse problems to have, but it was one of the most painful hobby-related events I’ve ever been through. I have been harassed in hobby spaces before, and this felt worse.
I pitched Mooncrash! (the D&D campaign) to my (remaining) friends shortly thereafter. Like, within a week, I think?
After the Mooncrash! campaign was over, I revealed that The Fateweaver was canonically the character that I had been playing in the game that exploded, in that Undertale/The Magic Circle-style “what would happen to a character in this universe who was influenced by a real-world event, from their perspective?” way. The Fateweaver behaved very differently than the original character (due to a decades-long timeskip and trauma and whatnot), but I made the connection very obvious. My players (seemingly) immediately understood. One or two had even guessed it in advance. Thankfully, they seemed to like the twist.
(The real meat of this part is here)
Mooncrash! was made for me to explore all of the maladaptive ways that I tried to forestall the inevitable collapse of a campaign, with the benefit of hindsight. Each of the four branches/factions is a barely-disguised metaphor for all of the things that I did to that end, my opinions about which are, I hope, somewhat apparent from the tone of the game. Some things that I tried were reasonable, good even. Most were not.
The game doesn’t have a happy ending because, even though a lot of things have gone better since (I even got to adapt the character into a new setting and play them in a new campaign - that’s going well!), I still don’t know what I should have done. That was true back when I ran the Mooncrash! campaign, and it’s still true now! The answer is probably just “there wasn’t a good answer, it was just going to suck no matter what,” but isn’t that scary to think about? Well, I think it is.
Wow, that got personal. How mortifying! Let’s get away from the gooey stuff and talk about game design instead.
THEMES/PHILOSOPHY/PSYCHOLOGY
Now, I’ll get into the four branches of the story, and what I think the themes are. Interpretations can and should differ, of course.
North/The Watcher: “Keep trying to fix everything forever”
This one came across OK when the player got the extra Watcher cutscene, I think. I like it that way.
This branch is about spending every minute working, and working, and working, until you give up yourself in service to the thing you’re trying to do. I don’t think I communicated the personal consequences of that very well in this branch (e.g. The Watcher being a total asocial loser costing him friends and potential relationships), but the idea was at least there. The Madoka-esque ascension thing came off as more fridge-horror than actual horror here, but I think that’s fine.
I think it was important to do two things for this to work:
- Make you watch the sunset (with or without The Watcher).
- Make you ‘experience’ a lot of pain by choosing his ending.
Both seemed to go off without many hitches. A solid A- - effective, but could be tightened up and expanded (somewhat paradoxically). Pushed up from a B+ for some fun diagetic playfulness (well, if torture can be playful) in the final chapter.
West/The Wildfire: “Burn it all down!”
This one was very simple, and so it’s hard to mess up. Get mad! Get real mad! Break stuff! The Wildfire does, in fact, do that.
The outcome of this was communicated suitably, in my opinion. You did have to literally kill a baby (a baby dragon, but still…), and he lost an arm and a companion in the final battle. You get hurt when you act like this, and you hurt people who don’t deserve it.
Still, it’s an understandable, human reaction to something terrible happening (which is funny coming from a dragon). That’s why you hug him at the end - it might have been a bad way to approach things, but really, can you blame him?
A, I think this one worked great, but the combat mechanics it was reliant on were shallow enough to knock it down from a perfect score.
South/The Shroud: “Sneaky sneaky…”
Sigh. I don’t think I communicated the intended theme here well at all.
Basically, the idea here is to solve the crisis by any means necessary, even by doing Bad Things. I should have made it clearer that that bioweapon was a Real Big Deal, and not just a thingy you could slap an evil Goddess with to make her stop moving. I dropped the ball here, I think.
Still, it kept with the bleak tone of the game, so it wasn’t a problem. It just wasn’t as on-point as it should have been.
Her ending suits the story I would have liked to tell at least, with her realizing that the machinations were pointless because everything was doomed from the start. It just would have been better to build up to it instead of starting and ending there.
C+ - it needed more work, but it doesn’t interfere with the rest of the story.
East/The Fateweaver: “If I were in charge…”
Everyone’s most hated lunatic wizard strikes again!
This path is about being a control freak, more or less. You know those people who are like “if I was the king of everything, I would be able to solve this problem!” This is a branch about those people.
The dialogue is theatrical - there’s not a quick back and forth like in IRL dialogue. You are being lectured on some truly insane philosophy by a self-important wizard who thinks they know everything. You can try to interject, and then you just get lectured some more.
I love it, maybe a bit too much. I read almost every transcript of people going through the conversation.
The Hand of Fate sometimes forcing people to choose The Fateweaver’s ending by dealing too much damage to them to allow them to get other endings was icing on the cake. Let’s pretend I did that on purpose, OK?
The final chapter for The Fateweaver was written all in one sitting, though I hope it doesn’t feel that way (I didn’t find typos, but that doesn’t mean there are none). It shows the logical extreme of this kind of thinking - in the end, everyone else is gone and you’re alone in a fantasy world you made up, having hurt and driven away the people who could have helped you. Good for you, I guess.
A+ - The meta BS, fourth-wall breaking, and wacky philosophy provoked strong reactions (good and bad) as intended (except for those averse to the tropes used to begin with, which can’t be avoided without making everything flavorless). The final chapter was suitably non-interactive, as foreshadowed by the CHOOSE SALVATION option. The Hand of Fate was a confusing lunatic edgelord who is near-impossible to reason with without exploiting his devotion to The Fateweaver, exactly as designed. I hit the bullseye on this one, I think!
TECHNICAL ISSUES
Oh yeah, there were plenty…
Descriptions/Examine text:
- I just didn’t read the textbook carefully enough, I guess… I only wrote examine text for interactable items, and I forgot The Bad Blood. The Bad Blood! Next time I do something of this scope, I’ll try to write better examine text, in spite of how many naming collisions I might run into.
Synonyms:
- C for Choose. C for Choose! Why didn’t I think of that!?
Sorry, folks. I hope your fingers didn’t get too strained.
Bugs?:
- Thankfully, it seems that most bugs were squashed during testing. However, a few formatting errors slipped through (especially in the final chapter). As often is the case, these seemed to all be due to late additions that underwent limited testing. One that was more common than I expected was when the player has both valid crystal objects in The Watcher’s branch (There is a missing line break when displaying the lines for both crystals absorbing light) - the playtesters just didn’t end up taking both very often, but almost every transcript I read did! If I’d known how often that would come up, I probably would have patched it. Oh well.
- Similarly, The Hand of Fate’s dialogue is full of little formatting errors. Missing quotation marks, missing line breaks, you name it! I’m honestly surprised that no one mentioned it in the reviews. They weren’t huge and none seemed to change the meaning of what he said at all, but I wish I’d caught them earlier.
- Some transcripts looked like they were behaving badly, but when I tried to replicate the behavior on my end, I couldn’t do it. I think that might have been weirdness with the transcripts, and I didn’t think too deeply about it.
- The only actual bug I could find was that you somehow take 5 damage no matter what while talking to The Hand of Fate? I could not find the source, which is why it never got patched. It’s probably something silly that I could fix in 5 minutes if I had 100% energy to dedicate to the task.
CODE/HOW DID I MAKE THIS
So, this is probably a good time to tell you that I’m a computer science theorist. That is to say, I do weird math. I also write code sometimes, but it is, er, research-grade. Meaning, it is often written to be used exactly once, and almost exclusively by me and people who I am in direct contact with.
Time to talk about all of the weird hacking!
Everything was made in base Inform7 with no extensions on a dusty old Windows laptop a few years past its prime and without enough internal storage. I usually borrow liberally from libraries for my coding projects, but this time around I just… made it all myself. Nothing was so technologically challenging that I wanted to bother looking up a library instead of coding it up myself, I guess. The coding wasn’t too hard, but that’s definitely because of my education. So, thank you to all of my wonderful CS professors!
Some of that handmade code was pretty neat! Like the (I think) very elegant CHOOSE implementation. As one person guessed, topics of conversation are Inform7 objects that get shuffled in/out of rooms as needed. Here’s how that was done:
Choose x
[********************************************************************************************************************************]
[Conversation Mechanics]
[********************************************************************************************************************************]
A converpoint is a kind of thing.
NotChoosing is an action applying to nothing. Understand “choose” as NotChoosing.
Check NotChoosing:
if the player is in The The Design or the player is in Frozen Spire:
say “The Fateweaver smiles past you. ‘Did you mean to add another word there?’” instead;
otherwise:
say “Choose what?”.
Choosing is an action applying to one thing. Understand “choose [something]” as choosing.
[
To define a topic of conversation, use the following template…
Check choosing TOPIC 1:
say “The player has chosen this topic. [TOPIC 2] is a topic that will be introduced, as is [TOPIC 3]. The old conversation topic should be moved out of the current room, and any new ones should be moved in.”;
now TOPIC 2 is in current_room;
now TOPIC 3 is in current_room;
now TOPIC 1 is nowhere.
Later…
TOPIC 1 is a converpoint. TOPIC 1 is undescribed. TOPIC 1 is in current_room. Instead of doing anything other than choosing to TOPIC 1: say “Put default behavior for behaving badly with topics of conversation here.”. The description of TOPIC 1 is “TOPIC 1: The description of the topic.[line break]”.
In rooms where you place topics (to pretty print the descriptions of topics)…
Every turn when the player is in current_room:
say “To choose a topic of conversation, type ‘choose’, then the label of your desired topic.[line break][line break]”;
repeat with curr running through every visible converpoint:
say “[description of curr]”;
]
… Other parts were… not so elegant. I will omit the actual code for space, but if you want to see some atrocious reset mechanics… just ask.
Rooms for the maze were linked by hand, and I was pleasantly surprised that I seem to have gotten all of the links right.
Many things that one might assume are objects in rooms are actually just ghosts referenced only in room descriptions. This made implementation much faster and easier, but is part of what led to the lack of descriptive text for most things, and all of the NPCs. (None of the NPCs, except the ones you can fight, are actually ‘in’ any of the rooms.)
All in all, this is NOT a code base I wrote for anyone else to work with. Irrational organization, everything in one file, barely any helpful comments, weird and wacky implementations of things, very little modularilty… I wouldn’t do that to someone other than a labmate or adviser! But, for a project that’s just little ol’ me, I think it’s fine. Sure, I could have spent a dozen hours refactoring this so that the code was more legible and usable, but who would benefit from that? It’s a personal project, and I treated it that way.
REVIEWS
I was extremely grateful that so many people reviewed my game, and so thoughtfully, constructively, and kindly as well! Coming from fiction writing/academia, I was prepared for the worst when it came to people reviewing my work. I was pleasantly surprised - I enjoyed reading nearly every part of every review I saw! Even the ones with hard-to-read things in them were super helpful. Here are some standout passages that I really loved:
(From: AmandaB)
“I do recommend that the author smooth this game out to be in line with the standard IF player’s expectations once the Comp is over. Get some testers here and it will be pretty easy to get it sparkling. But even with its newbie flaws, this game is just a rollicking way to spend some time.”
(From: Lucian Smith)
“Reader, I was charmed. In the end, the sheer ferocious chutzpah of the game with its deep dives into choice-only scenes, coded by hand, deep dives into overly complicated fighting systems, utter embrace of death as a simple backstage waiting area, wholehearted commitment to melodrama… it all combined to create one of those ‘I probably liked this more than other people’ games.”
(From: Mike Russo)
“But nonetheless, while I can recognize the reasons why over-busy narratives involving sexy people with nonstandard eye and hair colors and histrionic science-fantasy apocalpyses can be lots of fun, I confess the appeal is somewhat lost on me; less “anime BS (laudatory)” than “anime BS (derogatory)”, to adopt a kids-these-days idiom I do enjoy.”
(From: Patrick Mooney)
“So it’s an ambitious project, and not one that’s fully realized, I think; but it’s got a lot of good ideas, and the author seems likely to develop into a writer of more interesting, fully fleshed-out games if she keeps at it. I’d play another game from her.”
(From: rabbit)
“It has flaws but it’s ~ambitious~ and ~fun~. But damn it, it is fun. We’ve all played games, read books, watched films etc. which were put together perfectly but which were boring as hell. I really liked playing Mooncrash! and that counts for a lot.”
OTHER NONSENSE
Here are some extended feelings about each branch…
- The Wildfire’s branch is what I’d call “serviceable.” It gets the idea across, and doesn’t overstay its welcome. The RPG system I threw together for it in 2 days does function, and is entertaining for a few minutes, but lacks depth and complexity. I think I explored all there is to offer with it in this game, honestly. That isn’t a big problem in my opinion - this is not primarily a game about combat - but it certainly could have been better.
- The Watcher’s branch was about what I wanted. A simple puzzle that didn’t require much, if any, special IF knowledge to get through. The solution was perhaps signposted a little too aggressively, but I don’t mind that so much. I’d rather it be too easy than it be the reason that someone doesn’t want to finish the story, if that makes sense. This also isn’t really a game about intense puzzle solving.
- The Shroud’s section was underwhelming to me. I had originally wanted to add a fourth way to solve the puzzle (starting a prison riot and using the chaos to break into the vault), but I just ran out of energy for that. I also was the shallowest with descriptions here - a lot of things are missing important synonyms, and a lot of examination text is just plain missing. It feels like this one needed more options. Oh well.
- I really liked how The Fateweaver’s section turned out, and it was a highlight in a lot of reviews, too! I got it to just the right balance of wacky introspective philosophy and actually talking that I wanted. There was not a huge turn pressure, but it was possible to run out of time if you made bad choices. The touch with CHOOSE SALVATION worked well. I just really liked it.
- There was a series of easter eggs in this section that I don’t think anyone but the people in the class found! I’ll explain that later.
- The final section had some rough edges, but I liked how it turned out overall. The Hand of Fate conversation was very fun to write, and (aside from the formatting errors) it seemed to be about as hard as I wanted it to be to talk your way past him (e.g. very hard without a guide/liberal undoing). I also liked a definitely-intended effect of fighting him and winning - sometimes, he has still damaged you enough to lock you out of some endings. Sometimes, that means you can only choose The Fateweaver’s ending. So for some people, he won even though he lost :). It seemed like all of the four endings were fitting for the characters and sufficiently open-ended to prompt introspection. That was nice.
Here are all of the achievements you can get:
- In The Fateweaver’s branch, you get an achievement for choosing SALVATION, then letting the timer run out. (You also get this achievement for choosing ABANDON EVERYTHING)
- In The Fateweaver’s branch, you get an achievement if you ask about their lover.
- You get an achievement for getting halfway through The Fateweaver’s branch.
- You get another achievement for starting the final confrontation in The Fateweaver’s branch, even if you don’t convince them in time.
- You get achievements for getting 1/3 and 2/3 of the way through The Wildfire’s branch.
- In The Watcher’s section, you get an achievement for dying by touching the “vial that explodes when you move it”.
- You get an achievement for finishing The Watcher’s section extra quickly. I don’t have the turn limit on hand, but it doesn’t have to be a perfect run. You should have 5-10 turns of wiggle room.
- You get an achievement if you force The Shroud to steal The Bad Blood and then get killed by her. I don’t think anyone noticed this, but you still finish that branch even if you do this! You don’t have to do it again to unlock the final chapter.
Some easter eggs that no one found:
- Smelling the ashes in The Watcher’s section makes you sneeze, blowing them away. One of the playtesters suggested it!
- Using a verb other than “Choose” on dialogue with The Fateweaver/The Hand of Fate results in a few different reactions.
- If it’s a dialogue option that The Fateweaver doesn’t want you to choose, they just ask you if you’re sure.
- If it’s a dialogue option that The Fateweaver wants you to choose, they choose it for you. If you do this with SALVATION, you even get a special bit of gloating dialogue!
- If it’s The Hand of Fate, he throws a poison needle at you and you take some damage. Combat does not begin, though!
SCORE/RANKING
49th place was my final ranking, which was about what I was hoping for (middle of the pack). I thought it would be a stretch to reach a place with a prize since this is my first real IF project, so I’m happy with how I did. Obviously, it would have been nice to do better, but I came away with a lot of good information about what to work on for next time. It’s a win overall, in my book.
CLOSING NOTES
I had a lot of fun revisiting this story to write this adaptation, and I really enjoyed my first exposure to the IFComp community! I’m hoping to submit again next year, but who knows what will happen? Whether I come back with another entry or not, though, I definitely had a great time!
