ParserTHON 2026

As has become midsummer tradition, I’m combining two great tastes that taste great together – ParserComp, which has come off the starting block with 11 10 new pieces of command-prompt-typing entertainment, and the Review-a-Thon, which boasts 29 entries deserving of more attention. There are plenty of games on both lists that I’m looking forward to, and plenty more where I don’t know what to expect, which is even more exciting. So let’s get to it!

ParserComp

ALYAS OF STARHALLOW, by Lazzah
Dead Man’s Chest, by Garry Francis
Grand Island Bank Robbery, by Mathbrush
Help! I am Locked in a Fortune Cookie Factory!, by Outgrabe
The Most Valuable Card in the World, by Mathbrush, DC
The Priest and the Rennes Alignment, by catventure
A Quest in Time, by OlderTimer
Slappy Squirrel Gets the Girl, by improvmonster
This Island is Trying to Kill You, by spaceflounder
The Woodcutter’s Quest, by Garry Francis, Shaun McClure

Review-a-Thon
All That Shimmers…, by Andrew Apted
The Antediluvian Weapon, by Daniel M. Stelzer
Bael’s Rock: A Text Adventure, by Alex Halver
Blood and Silver, by alyshkalia (Tabitha)
Blossom, NY, by alyshkalia (Tabitha)
DEVIL’S LIMINAL, by Studio Interlude
Edge Valley Bigfoot Society, by NegSec
A Garden of Impossible Objects, by SkyShard
GET MANIFE$TO, by Matt Bee
Isekai, by dott. Piergiorgio
The Krampus Case, by Kirk Damato and Sarah Willson
the lamp of your body, by Naarel
Lewd Mod: No Butts, by HHRichards
Lilac Song, by Autumn Chen
Maddie Teases, by HHRichards
my baby needs blood, by crotovane
oxblood, by Naarel
Quirky Test, by Andrew Schultz
recombinatorial, by 30x30
requiescat, by rh9
Saintsridge Angels, by Atreyu Celestine
Sleepless in the Sapphire City, by Coral Nulla
Something in our heart, by Naarel and Coral Nulla
A Train to Piccadilly, by Marco Innocenti
Trenchline, by JJ McC
The Uncle Sam Atrium, by alyshkalia (Tabitha)
Untitled (Underground), by Coral Nulla
The Warren, by Emery Joyce
WWII Elevator Escape, by Kenneth Pedersen

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requiescat, by rh9

I work in policy advocacy and one of the big no-nos in that corner of the world is Christmas trees. That doesn’t mean actual Christmas trees, of course – the forces of godless heathendom haven’t advanced that far yet; it’s just a term of art for campaign platforms that amount to a bunch of disparate issues and policy ideas with only the thinnest of connective tissue explaining how these things are related or why they’d work well together, much as a gawker looking at a really first-rate Christmas display finds their eye drawn to one bauble after another, barely paying attention to the timber and fir-needles providing the scaffolding.

There are sound reasons to deplore these things in politics (ideally your platform should tell a cohesive story, and bring people who support one piece of it to endorse the others too). But in real life? Christmas trees are great, they’re super pretty and there’s no inherent reason why it’s bad to be drawn to one ornament after another rather than come to a considered and mature appreciation for the branches upon which they hang.

Turns out the same is true in IF! requiescat, spruced up from its original showing in last year’s Ectocomp, doesn’t have an especially unique spine. It’s a choice-based relationship drama that relies more on sudden dramatic escalation than deep character work or originality of plot to generate interest – the core story is fine enough, but it’s a bit too abstract to be memorable. Similarly, the prose is unexceptionable but unexceptional, and I can’t point to any particular thing the game does to put its own spin on the premise.

And yet, there are a bunch of nice flourishes, interesting ideas, and clever pieces of implementation which don’t add up to more than the sum of their parts, but still add quite a lot to the experience. For one thing, there’s a slight element of comedy threaded throughout the game, especially in the excited, slightly-defensive bits of dialogue that close each passage and provide a clue that the great romance depicted in the early parts of the story is a bit of a pretense. For another, the game does occasionally slow down to provide some specific details that provide color to the sweep of the game’s arc, like a karaoke night that proved a turning point in the central relationship. And I liked the use of text-expansion links: on most pages there are several places where you can click to get an additional sentence or two of context or elaboration, which occasionally are daisy-chained one after another and take the reader to quite a number of different places in a short paragraph or two – it’s an accumulation of effect that left me enjoyably bewildered. The thing that I liked the most was the way the game turns back on itself to recast some of its earliest scenes in light of the final revelations, which helps them sink in and lends some needed depth to what at first seems like simple puppy love.

Admittedly, there are some issues here that do drag these high points down – in particular, the way the game skips over a decade of the main characters’ married life only to have a completely mundane incident trigger a shocking act of violence, with no apparent warning signs or buildup, makes it very hard to see the characters as anything but playing pieces being moved around, semi-arbitrarily, to reach a preordained end (either that or one of them is incredibly thick). That kind of thing is hard to completely avoid in a five-minute game, though, and again, the central story elements aren’t the major draw here: the nice thing about being distracted by a Christmas tree’s lights and tinsel is that the luster of the trunk is neither here nor there.

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ALYAS OF STARHALLOW, by Lazzah (Larry Horsfield)

I have been married for going on eleven years now, and in that time my wife and I have developed our own little habits for certain things. For example, here’s how we celebrate our anniversaries: each year, without fail, we’ll decide what day we want to go out and do something, then I’ll do some research to come up with two or three options that I think would be fun or romantic, present them to my wife, who’ll deliberate for a couple of minutes before making a pick – and then each year, a day or two later, she’ll tell me that she did a little bit of her own digging and came up with an idea that is obviously and objectively way, way better than what I came up with, so we do that instead. Unsurprisingly, that means that over the years, even as we’ve stuck to the exact same formalities, the amount of effort I put into coming up with those initial choices has ratcheted down, because even though part of me has to believe that it’s meaningful effort, the greater part of me knows that it’s really just putting on a show before the inevitable happens.

I’ve got something of the same learned helplessness when it comes to Larry Horsfield’s old-school ADRIFT parser puzzlers (yes, that’s the kind of segue you can only get from a Mike Russo review, at least for another two or three generations of LLMs). Every time I read the preview, get excited at the idea of testing my wits against a long, fiendishly-tricky fantasy adventure, read through the extensive instructions and pre-game material while psyching myself up for the challenge, explore the opening area and pat myself on the back for successfully deploying a LOOK BEHIND or LOOK UNDER or two – then get stuck, realize there are no hints, allow my low-level social anxiety to prevent me from taking the author up on the invitation to email them for the walkthrough, and quit in shame. Once or twice, with especially short and easy games, I’ve managed to break the pattern and make substantial progress or even win the thing, but friends, I think this was my worst showing yet, akin to asking my wife if she wants to just spend our anniversary at the second-closest McDonalds (it’s marginally nicer than the closest one!)

I’m disappointed, since until I hit a brick wall I was having a good time. The inciting incident is ridiculous – the village elder sends your village into high alert because someone has stolen the pipe of the evil warlock Rummikum Rummkub, and dragoons you into a quest to recover it – but the other villagers also think it’s a bit much, and there’s a similar amount of just-getting-on-with-it charm to the game’s extremely white-bread fantasy world. Sure, it’s a mismash, with the village boasting a longhouse, a roundhouse, a yort (sic?), and a church complete with stained glass and a nave, but the matter-of-fact prose and just-detailed-enough implementation successfully evoke a classic adventuring vibe. And it was satisfying to run around gathering supplies for the adventure, finding food and water, retrieving your dagger, and so on – that kind of low-key grounding makes the grand fantasy bits stand out all the more.

I never actually got to any of those grand fantasy bits, though, since when I tried to leave the village in pursuit of the thief, an out of character voice told me I needed something from the church. That’s a better approach than letting the player get into a walking dead state, I suppose, but the problem was there was no in-game reason why I would expect there to be anything hidden in the church, nor any clue as to what I was supposed to do there – I messed around with the pews, fumbled around with some carved decorations, tried to steal the god’s statue from the altar (at some point my score went from 10/650 to 5/650, and in retrospect this might have been where I made my blunder), and admitted defeat some 15 minutes later.

Before fully giving up on the game, I made a half-hearted attempt at the other puzzle I was aware of, prompted by reading a book indicating that I’d need some ashes in case I ran into a giant spider later (it’s somehow supposed to confuse them). I’d found a dirty fireplace but couldn’t get a container to scrape the ash into. The miller at the edge of town has a giant pile of empty sacks, which seemed promising, but he wouldn’t let me borrow one or even try to buy one, and realizing that I couldn’t swap gold for an empty burlap sack made me realize that progress in this game was going to depend more on lawnmowering through the command list than thinking up reasonable solutions to obstacles, and I just couldn’t muster up the requisite enthusiasm, since I was sure that even if I did eventually figure these two puzzles out, I’d inevitably come a cropper on some future challenge. Farewell, Alyas of Star – sorry, ALYAS OF STARHALLOW, we barely knew ye, you put in a lot of effort and I barely made any, but that’s just the pattern we’ve settled into after all these years.

Alyas MR.txt (71.9 KB)

EDIT: Upon getting a in-retrospect-kinda-obvious-though-still-unmotivated hint from the author in the thread below, I was able to get through my ecclesiastical blockage, and after some comedic back and forth where I was prevented from venturing forth on my grand adventure until I’d secured that most critical piece of a hero’s equipage, a tea towel, finally made it to the game proper. I actually started making some solid progress, working through some solidly-clued puzzles to get rid of a pack of wild dogs, explore a deserted village, and uncover some secrets hidden in an enchanted forest. Then I ran out of steam trying to get down from a hundreds-of-feet-high escarpment – I’m worried I might have released a genie too early – but still, with a respectable 150/650 points, and having enjoyed some solid adventure-gaming, I’m much more satisfied both with myself and with the game than I was yesterday.

Alyas MR 2.txt (139.4 KB)

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This sounds like a frustrating experience, but also, forlornly rifling a church without a clear goal and then realizing your score dropped is a great comedic beat. Probably not the intended effect, but it made me smile. (Side note, I don’t really play old-school parsers, and I didn’t realize that these old-school style scored games dinged your score for certain actions. Weird; I’m even more baffled the concept of scored parsers!)

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Hi Mike,

I’m surprised a seasoned player such as yourself didn’t get this: What do people usually do in a church? Rhymes with HAY!

Larry

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Grand Island Bank Robbery, by Mathbrush

Apologies for the mass of blurry-text immediately below, but despite its apparently straightforward treasure-hunt-in-a-1930s-bank premise, Grand Island Bank Robbery (even the title couldn’t be more ingenuous!) is one of those games that can’t be discussed without spoilers. It’s very much a good time, though, so I recommend you give it a whirl and then join me for the real review once you’re sure you’ve hit the ending.

Credit where it’s due, the PC’s name got a laugh out of me two separate times, for entirely different reasons, and I can’t think of a more compact and elegant bit of writing in a piece of IF I’ve played this year.

Don’t get me wrong, I was pretty sure something was up from the very first scene; the way the opening narration made a big deal out of seeing Venus in the sky, and the reference to still getting used to cars, sure seemed out of character for a Depression-era gangster, and the classical allusions kept piling up from there. So I was congratulating myself for being too clever for the game when I won the first time and discovered that having correctly guessed the second twist meant I was completely unprepared for the first one. Similarly, I’d convinced myself that the other characters were likewise drawn from Greco-Roman myths (Pretty Boy, with his locket of a long-lost love, was giving Odysseus vibes, and surely every grieving widower is an emanation of Orpheus when you think about it?) so when it turned out that nope, they’re just people, and people with interactive backstories to play through at that, that counted as one more effective rug-pull.

I’m harping on the twists not because I think they’re inherently good drama – just the opposite, I tend to prefer stories that clearly telegraph where they’re going and commit to their axioms – but because they can help create a flow state that’s uniquely well-suited to IF: where you’re reading everything with close, careful attention, not just from enjoyment of the prose or narrative being presented to you, but because you’ve got a theory of the game and you’re trying to fit the pieces together. This kind of problem-solving while you’re problem-solving is part of why I really enjoy the IF of the early aughts, when it was very much in vogue, and GIBR very effectively scratches that long-neglected itch. It has good bones, too – the opening treasure-collection section is pretty easy, but the puzzles are satisfying to solve, and this easy-mode opening sets up the middle act, where you need to think creatively about how to create fake valuables, not just hoover up the real ones. And then in the finale, you’re forced to consider your extensive medium-dry-goods inventory not as puzzle-solving tools, but as vessels of history possessing emotional weight. It’s an effective series of reconfigurations, deepening and deepening the playing pieces as you progress.

The craft required to pull this all off, without making it feel forced or even particularly flashy, is deeply impressive. The implementation is unsurprisingly rock-solid, and the prose tosses out era-appropriate bons-mots like they’re cheap:

My parents had been farmers, and they left the place to my worthless older brother Jack, who had let the place go without repairs or development for years. The soil was poor, the crops poorer, and Jack poorest. So of course, he let me stay here when I offered to pay.

That’s from one of the couple’s vignettes in the last chunk of the game, where you learn more about the backstories of the characters who’ve largely just been either background detail or puzzle elements in your first two run-throughs – another way the game carries out its agenda of humanistic destabilization of IF tropes. These sections are perhaps a bit abbreviated, but better that than overly belaboring things as the player’s reaching the finish line, I think. My other critique-that’s-not-really-a-critique is that I’m not sure I felt a strong thematic link between the story GIBR starts out pretending to tell, and the one it ultimately does: why does Cupid descend into this particular tableau, besides the fact that the heist happens to be scheduled for Valentine’s Day? But trying to tie everything up in a cute little knot would have risked mawkishness, and gilding the lily like this is of dubious actual value, beyond scoring pretentiousness cred. No, I’m more than satisfied by what the game does offer, and I’m going to keep giggling at “Coop” for a while yet.

GIBR mr.txt (342.5 KB)

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Thanks for the nudge! I was able to get through that block, and a fair bit beyond that too, and updated my review accordingly.

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This Island is Trying to Kill You, by spaceflounder

The Simpsons is responsible for so much at this point that it feels hubristic to pick out one thing and call it the Simpsons Effect, but since from the state of the world it sure feels like the Furies have been sending out-of-office autoreplies for a while now, let’s risk some lightning bolts: due to having watched a bunch of the Simpsons when I was relatively tender-aged, there is a whole host of pop culture that I first encountered, and remain primarily if not exclusively familiar with, via Simpsons parodies. I’ve never seen the Shining or Cape Fear or Rear Window, but beyond the broad outlines of the plots I know many of the key setpieces and even how they were shot, based on seeing them played out by a cast of oddly-yellow cartoon characters. On the one hand, the Simpsons Effect really is an efficient way of expanding one’s cultural horizons – I can keep up in a conversation about the psychosexual themes of the Shining so long as I remember Groundskeeper Willie wasn’t actually involved – but on the other, that expansion is based on unstable foundations, an impression of someone else’s impression of a thing (weren’t we talking about Walter Benjamin a week or so ago?)

So anyway This Island is Trying to Kill You unabashedly presents itself as a homage to, specifically, shareware text adventures of the mid-1980s. I was 4 or 5 for most of the mid 80s, so what with not having a computer and not being literate, this isn’t an area where I have any firsthand knowledge, and I don’t even have any years-later experience, either – I’ve gone back to play some Infocom games, but even a quick glance at Island’s garish colors, integrated ASCII mazes, and cheerful use of the nether depths of the character set make clear that we’re a far way afield from A Mind Forever Voyaging. But I have played stuff like And Then You Come to a House Not Unlike the Previous One (and its companion, Infinite Adventure) that similarly leverage period-appropriate visuals and interface elements to tweak a nostalgia I don’t actually have, but in service to different creative agendas and more modern design sensibilities.

And at least in this case, that’s great! I can’t say with any authority how well Island apes its inspirations, but the vibe definitely matches what I’ve seen in analogous projects – brief but enthusiastic prose, unselfconsciously old-school puzzles, a sprawling, low-density map, a light treasure-hunt premise, and that all-important interface. There’s a blue header with your score and exits listed (of course there’s a score), a dappled-purple footer that occasionally pops up a light hint, your commands get typed in in cyan with error messages colored red, and there are lots of puzzles that bring in wingdings-style symbols to liven things up, not content to stick to the alphanumerics. It makes for a coherent aesthetic that wouldn’t be out of place on someone’s bedroom C64 in the background of a schmaltzy 80’s movie, but it’s also very functional: you have all the information a modern player has come to expect, the parser is fast and boasts some nice features like an optional autocomplete for longer words, and there’s an in-game automap to help make sense of the sometimes-wacky geography (oh, and there are deaths but they’re all reversible with a simple UNDO).

The other more contemporary touch is a dash of roguelike DNA – the ABOUT text indicates that there’s some randomization at play, jumbling up some of the layout and puzzle solutions between runs. I only went through it the once, but can see where things like safe combinations and the location of some items (like the mysterious ship’s wheels) could be changed, though I don’t think this would add much replayability since the basic contours of the solutions seem like they’d be the same – I am curious whether there are a few larger-scale alterations, though, as I ran into at least one obstacle that I never figured out how to circumvent (the shark-infested lagoon).

We’re almost 700 words in and I haven’t said what the game is about yet, but the premise is somewhat besides the point: you’re shipwrecked on a desert island and need to collect a bunch of treasures because a talking porpoise (?) tells you you need to buy a ticket off the island (?) from a magic underground vending machine (?) that extends you credit based on the off-screen bank account you’ve accumulated by finding the aforementioned treasures and handing them off to a handy crab who appraises them and whisks them away for safekeeping (???) Basically: solve 17 puzzles, win the game. Some of these are beyond straightforward – unlock the box with a monkey on it using the key with a monkey on it – but there are also a couple simple math puzzles, some combinations to collect, and straightforward object manipulation challenges.

There’s nothing that’s especially tough, but the fact that the clues and items are spread over such a large map makes it satisfying to recognize that now you can go back and solve something you ran into much earlier. The extensive real-estate – which also includes a couple of evocative sub-areas – makes exploration fun, too, as you uncover the island’s secrets and get a sense of how it all fits together. Meanwhile, the prose is zippy and the jokes solid, with the unexpected result of trying to feed a seagull so it’d stop bothering me getting an out-loud laugh. And as mentioned above, despite appearances the interface is smooth enough to remove most friction. I did run into a couple of small bugs (the help text for interacting with characters seems to be missing, and trying to save the game threw an error, though I’ve been having issues with Itch.io in Chrome, so that could be the culprit), but those didn’t affect my enjoyment in the slightest.

I suspect that people who remember the 80s and played innumerable games like this in their formative years will get more out of This Island is Trying to Kill You. But even for those of us for whom it won’t be a madeleine evoking younger days, there’s a lot to enjoy here – actually, this might be a case where the Simpsons Effect second-hand version is way better than the original inspiration.

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This review made my day. Thanks for the kind words!

Also I’m sorry about the save system glitching, it’s not helpful at all to say this but it works on my machine. Maybe next time I’ll use tads, of the traditional IF game languages it’s my favorite.

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Boy, you are missing out big time. That was the golden age of text adventures.

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Nah, the golden age was like 1998-2005 (I am guessing that in both our cases, it was when we were in our late teens to early 20s :slight_smile:)

Do you have any recommendations for what to check out? I admit part of why I haven’t really dived into this piece of IF history is that the corpus is intimidatingly large and there’s not a clear entry point like Infocom provides for early-80s commercial games.

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I don’t want to derail your review thread, but perhaps have a look at this comment when you have some time. In fact, read the whole thread for some interesting viewpoints and recommendations.

Keep in mind that all the text adventures written in the golden age were written prior to Linux, Mac and Windows, so you need to be prepared to download emulators for 8-bit and 16-bit computers. For MS-DOS games you’ll need something like DOSBox.

I seem to recall one or two other threads that covered the same ground. I’ll see if I can find them.

EDIT: Found one. Try this comment, then read the whole thread.

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Lewd Mod: No Butts, by HHRichards

This is my third year of review-a-thoning, which means I’ve now played five different entries in the Lewd Mod series – though I believe several of these demo versions have been pulled from the same mainline (paid) game, while others are discrete, and the titles of these excerpts don’t provide much clarity about any of this, meaning there’s a Kingdom-Hearts-style confusion about how the various games relate to each other. And there’s also a Kingdom-Hearts-style confusion about what the heck the series title is supposed to mean; the “lewd” part is clear enough, inasmuch as the throughline is clearly the hand-drawn no-eyes, no-nose porn, but as for the other bit, is the conceit that these are like a XXX mod to some other, entirely innocent choice-based game about avoiding heat-stroke when the office AC is on the fritz? Beats me, but heck, I watched my law school roommate play through the second Kingdom Hearts game with no context, I know how to roll with a punch.

Comes now Lewd Mod: No Butts, though, and finally we have an explanation! This fundamental (er) text for the series establishes that the protagonist has just been hired as a content moderator for a social media site, responsible for ensuring that only innocent selfies, and not detestable smut, hits the feeds of its innocent users. This is of course a job that exists in real life, one that inflicts such terrible horrors that it drives even LLMs into psychosis, but there must be a super intense pre-screening process before people are allowed to register accounts on this particular network, like early Facebook’s creepy Ivy-League-only rule, except for hot babes obsessed with showing off their butts and sometimes their feet (there’s the occasional boob shot, but they’re conspicuously rare). Interaction primarily consists of reviewing a series of pictures and either letting them go through if they comply with the rules, or blocking them if they’re too hot to handle. In between batches, there are short choice-based dialogue exchanges with your supervisor, who starts sexually harassing you within about two minutes (she can dish it out but can’t take it – if you give her a compliment after she, mid-Zoom-call, shows off and fingers her example of the only symbol on the numpad naturally occurring on the human body, she gets demurely self-conscious).

This is silly and, if you took it the slightest bit seriously, deplorable, but I think Stockholm Syndrome has set in for me – No Butts is too goofy to be mad at. Like, during your orientation, your boss explains that a selfie has to contain a face to be OK to post, clarifying that means “it must show lips or eyebrow”, because of course, there’s nothing else that goes on a face, right? And maybe I’m judging on a curve, but the details of the rules, including the way they change mid-game to allow more risque pics (there is a lot of po-faced belaboring of the precise definition of “buttcrack”), strikes me as an entertaining satire on the absurdist moderation policies of actual social media companies, even as it’s clearly just a mechanic to make sure you need to shell out for the full game before you get the spiciest stuff.

Is No Butts worth playing? No, but it answered questions about Lewd Mod lore I didn’t know I had, so at least that’s something – we’ll just have to see if this year’s second installment in the series, which I’ll get to in about fifteen more reviews, manages to justify its existence.

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Wait, so it’s not short for lewd modification but lewd moderator?

This feels like a paradigm shift on something I didn’t even know I had a paradigm for.

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I know, right???

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I’ve played precisely zero of these games but my understanding was always that the games actually titled “Lewd Mod whatever” (IFDB link for the first one) were the main series games where you’re a content moderator and all of the other games were side stories which also involve women sending you suggestive pictures but for even flimsier reasons.

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Wait, isn’t that the Weird Al song based on the Sade song?

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Around the time of my Leather Goddesses of Phobos writeup, I became interested in ideas about certain types of comic transgression. I considered playing all of the paid HHRichards games (there are too many demos) and maybe some other things like Leisure Suit Larry, and so forth, for a longer essay. It didn’t get off the ground, sadly, but who knows what might happen once I’m through with the Infocom business (12 games to go)?

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Per a note at the end of No Butts, it seems as though the first game is now free, so you might be able to get a bit of a ways into that project to see if splashing out cash is worthwhile (it’s definitely an interesting area, though I personally find it hard to avoid going for the cheap laughs, at least in this format :slight_smile:

I don’t think this is right – at least some of the free games appear to be excerpts from the larger games , though in a confusing way. Like, No Butts seems like the intro to the main game, since it introduces the premise and a character who shows up in some of the others. But in IFDB it’s denoted as “Episode 6 of Lewd Mod”, which means it comes after Episode 5, Office Temptation, which I reviewed last year and where you seemed to already know a bunch of coworkers? The other entry in this year’s Thon is Episode 1.5. So clear as mud.

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The Antediluvian Weapon, by Daniel M. Stelzer

An interesting thing about the Review-a-Thon is the way it recontextualizes its entries. The IF scene being what it is, just about every game is made as an entry in some particular event, jam, or competition, each with its own design constraints, thematic points of departure, and intended audience. And while this is all generally happening under the umbrella of the larger IF community, plucking games out from their points of origin and plopping them down in the new RAT context necessarily involves some flattening and some reconfiguration, and potentially also some fuzziness of purpose – like, the emphasis here is of course on evaluation, but how much should said evaluation incorporate a rubric proper to a game’s original home?

These wooly maunderings brought to you courtesy of The Antediluvian Weapon, an entry in this year’s Text Adventure Literacy Jam, which as I understand it is an event focused on creating games that can provide an entry point to parser IF for those unconversant with its interface and foibles. Judged on its own merits, it’s quite good, a small-scale limited-parser game in all but name with some clever uses of its core mechanic and a fun, breezily-established setting with an early-modern vibe and supernatural elements focusing on magical use of, er, the elements. As an intro to parser IF, though, I’m not convinced it’s a great fit. Admittedly, this is a tough remit, but the puzzles can be rather tricky, as a limited-parser game it barely touches on the majority of standard interactions, and the tutorializing is pretty light, primarily focusing on how Dialog’s (admittedly slick) hyperlink interface works – the ABOUT text does promise a series of accompanying articles to come, but I think those are meant to be more about the process of writing the game than support in playing it, and at any rate though don’t appear to be yet in evidence.

I’m just going to leave all that aside though, because the THON isn’t the place for such critiques, and as an increasingly-grizzled veteran of the scene I’m not best suited to judge what makes for an easy intro, anyway. Antediluvian Weapon is great! I often find Stelzer’s games contain elements that I find especially appealing, and the same is true here, from the title (I am pretty sure we both picked up “antediluvian” as a cool-sounding word from being exposed to Vampire: the Masquerade at a tender age) to the Renaissance magicpunk espionage setup, which recalls Jon Ingold’s All Roads (I should really replay that one of these days…) But even if you’re a tradfantasy or sci-fi type, I think you’ll have fun here: the worldbuilding is very efficiently sketched, conveyed in a short scene of dialogue and environmental storytelling through a couple of frescos – it’s enough to sketch out the history and provide some gaps your brain can worry away at if that’s your thing, but if it’s not the mission is clear, and doesn’t require engaging with the lore if you don’t want to.

Said mission is a rescue and recovery operation, with the emphasis on the latter: another agent located the eponymous device in the fortress of a rival power before going dark, so you’re inserted via teleportation to steal the weapon, get out, and if possible help your predecessor escape. You purloin the weapon as soon as the introduction is over, so the game is entirely structured around learning what it does and deploying it in slightly different ways to overcome a series of obstacles. I won’t spoil the details, but I think it works well – the weapon’s function is relatively simple, but figuring out how to leverage it to evade the guards out to catch you requires a bit of lateral thinking, meaning the puzzles are satisfying to solve and largely hit a sweet spot in terms of difficulty.

Rescuing the other agent is a bit trickier, and turns on realizing that there’s something slightly unintuitive about how the weapon works – I think there probably would have been a way to create a smaller puzzle prompting the player to make this leap, but as it is this is an optional puzzle, with InvisiClues hints to boot, so it’s hard to complain. Meanwhile, the climactic puzzle is great, one of those set-pieces that requires you to act quickly and think outside the box, but with enough cueing and foreclosing of alternate actions to ensure that it clicks with a minimum of frustration. And while the writing is clearly in service to the puzzles – prose is generally terse and there’s a minimum of decoration, with an emphasis on clearly communicating to the player details about their environment and movement that are needed to overcome the obstacles – it manages to accomplish that goal while still being evocative and engaging.

So all told this is a great game, and I’d gladly play more with the same protagonist or the same setting; it seems a sturdy premise for unique-magic-device based IF, which can be a lot of fun. I’m not sure I’d rank it as highly as I do were I encountering it in the TALJ, but I’m not, so I do, and I’m doubly glad for playing it in the THON instead!

Antediluvian-Weapon MR.txt (61.0 KB)

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