Tabitha's IFComp 2024 Reviews

Competitions IFComp
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While I’ve started a few game-specific threads so far, and like those for the reasons discussed here, I am going to write some full-length reviews and figured I’d collect those in their own thread—so, tada! I’ll also keep an index here of my posts in the per-game threads.

Mini reviews

Full Reviews

(Note: those that contain unhidden spoilers will be hidden in a "details" tag.)
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A Warm Reception by Joshua Hetzel

This is a sweet, fairly simple game that wasn’t quite what I expected based on the blurb. The mystery is solved via notes you happen upon throughout the castle, and is incidental to the main objective, which is collecting items of armor (and possibly a sword) in order to defeat a dragon. It took me only about a half hour to finish, and my playthrough started with this infelicitous exchange:

Castle Entrance
You see the entrance to the castle in the east, and it has been thrown open, with no one inside. The entryway is covered in soot and burn marks. Whatever caused this doesn't seem to be nearby anymore. At your feet is a small booklet with the heading "Instruction Booklet"

If you would like instructions, type "examine booklet"

>get booklet 
That's hardly portable.

>x entryway
You can't see any such thing.

>x marks
You can't see any such thing.

>x soot
You can't see any such thing.

Having discovered that only important nouns are implemented, though, the rest of my play time was much smoother. It helps that the descriptions are pretty bare-bones, so there aren’t a lot of scenery items to attempt to examine. It’s a fairly minimalist game, requiring mostly simple exploration and straightforward actions. The trickiest puzzle, I think, is one I skipped on my first playthrough and only solved on a subsequent one by looking at the hints. As this implies, the game is winnable without collecting every item, which is a nice point of design. You can face the dragon at any time, but the more items you have, the better your chances. I felt the odds were good enough once I had 13 out of 18 points, and I was right!

The next thing I did after winning was restart and try facing the dragon with zero items, and I just happened to beat the 1-in-20 odds and win again. :joy: But even though you can theoretically do that on a first playthrough, that would mean missing out on uncovering the story, which would be a shame. It was a delightful surprise to encounter a queer storyline, and I liked the gradual revelation of the details. Also, Ralph is a sweetheart.

I do think the story could have been revealed a little more gracefully; instead of people having conveniently written down every bit of relevant information and then left those notes lying around, why not give me an ability to, say, hear magical echoes of recent conversations? That kind of thing would also deepen the worldbuilding, which was pretty minimal and a bit random. For instance, the year is 1680, and there’s a castle-dwelling king ruling the land, but there’s also a mention of the PC intending to take photographs, and a pizza (which inexplicably contains a key and a ticket) makes an appearance.

The feelies clearly had a lot of effort put into them, and are thorough and helpful as a result. I didn’t need to turn to the hints or map on my first playthrough, but I made use of them on my second to get the points I had missed. I think there’s a lot of potential here, and with some beefing up—implementing more scenery objects to add richness to the world, developing the worldbuilding a bit—this would make a very solid game!

Transcript:
A Warm Reception_script.txt (66.1 KB)

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Thank you so much for your review! I’m glad you didn’t feel the need to solve every puzzle the first time around, that always frustrated me with the old Infocom games

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Awakened Deeply by R.A. Cooper

This is a fairly brief and mostly straightforward sci-fi puzzler that’s a bit rough around the edges. As shown in my transcript, there were a decent number of times when the first command I tried wasn’t accepted; fortunately, that was never a problem, as it was easy to figure out the correct command (sometimes thanks to helpful customized error messages). Ideally, though, more synonyms would be implemented, and there’s also the classic “you can’t see any such thing” when examining some mentioned nouns. Interactable nouns, on the other hand, often tend to be capitalized and set off on their own line, e.g. “You see Crate here,” rather than integrated more naturally into the room descriptions. There’s also one puzzle that felt very “read the author’s mind” to me (the placard one), and I would never have solved it without the walkthrough.

My other main point of critique is that I wasn’t emotionally invested in the story. You, the ship’s captain, are coming upon the bodies of colleagues who have been wounded or killed, but there’s no emotion in the descriptions of them, and more often than not their only purpose is to provide you with an item or clue you need to progress. For example:

The dead body of, Lieutenant Yostin, lies on the floor. It looks like his left arm has been severed from his body.

>x yostin
He is wearing his dress uniform and dress coat with pockets.

>x uniform
You can’t see any such thing.

>x coat
You can’t see any such thing.

>x pockets
You check Yostin’s pockets. You find a crumpled piece of paper. It has the numbers “364” scribbled on them. You place it in your pocket. “What the hell is this for?”, you think to yourself.

Clearly the PC knows who this person is, but the presence of his dead body elicits no reaction; nothing would be different if he was, say, a desk, with a drawer you could open and get the piece of paper from.

I did enjoy exploring the ship and working my way through the puzzle chain, and the story had me intrigued. I’d just have liked to see more acknowledgement of the horror of what happened on the ship, and thus be made to feel a sense of the stakes, rather than simply being told about them.

Awakened_Deeply_script.txt (67.2 KB)

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Thank you for the review. There are a few items to find that offer more backstory on pitker etc. thanks again for playing

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10,000% concur and agree. As a Naval historian, I know that Sailors and Seafarers is never ever emotionally detached from their shipmates. And I think this apply more in deep Space than in High Sea.

Best regards from Italy,
dott. Piergiorgio.

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String Theory by W Pzinski

This is a well-written, well-made game with some unusual aspects. While it uses the default Twine Harlowe font and color scheme, there is some customization, including the use of text effects and a dynamically-updated family tree. The latter (which is complete with little illustrations!) is a touch that’s both just nice and also proved helpful to refer to during the game (especially when things get more complicated than they first appear… Also, seeing Ben added to it at the end was really sweet). The game also employs hyperlinks well, making use of false choices, cycling links, and even the simple “click to proceed” to control the pacing, ensuring that the player never faces a wall of text.

Players will also soon discover that there are special links (usually highlighted with a text effect) sprinkled throughout that lead to NPC flashbacks. I have to admit that I didn’t initially realize these weren’t the memories of Jay, the PC; this is fully on me, as on a replay I noticed that the first one makes it clear by having the POV character addressed as “Jimmy” twice, but I somehow managed to overlook that on my first playthrough. Even putting that aside, because these sections feel set off from the main story, I think a graphical cue (change of background color and/or font?) would be nice in order to differentiate them. I also wished there was an undo/back button, because sometimes I wanted to look back at the last screen of text (whether to refer back to something or because I clicked too fast and accidentally missed a flashback link).

Now, talking about a different aspect of the flashbacks, at first I thought that they were simply giving me, the player, a look into the NPCs’ pasts, giving me knowledge about them that Jay didn’t have. I liked the way they humanized even the worst characters (looking at you, Uncle Jimmy…), adding depth to portrayals that could otherwise seem stereotypical or one-note. But where it gets weird is when it becomes clear that Jay is experiencing these flashes on some level, too. This gave what had initially felt like a very grounded and realistic game a surreal vibe, injecting some sort of magic into the world that never gets addressed or explained.

I liked the exploration of the complicated family dynamics, but I think the game packed in one or two too many sensational reveals about Jay’s family history; it got a little over-the-top, and the more extreme ones weren’t really explained, which left me more confused than anything else. As discussed here, I also wasn’t sure what the purpose of the ambulance flashback was. And one of the two possible endings felt more satisfying to me (the Venice one, due to the emotional beat of Jay meeting Ben’s grandmother and being immediately accepted, after all he went through with his family).

But while I didn’t feel like all of the elements fully cohered, I was engaged and invested in the story and enjoyed both my playthroughs, and what I saw as the central theme resonated with me: while we can’t choose our families, and we’ll always be stuck with their trauma and mess to some extent because it’s where we came from, we CAN choose the other important people in our life, and it’s possible to find love and acceptance elsewhere even if our families can’t or won’t provide it.

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Bad Beer by Vivienne Dunstan

Bad Beer is an enjoyable little game! “Little” in that it’s a pretty quick experience; I reached an ending in less than 30 minutes, but did spend some time replaying. The setup is brief and lets you quickly get into your investigation, which rapidly reveals that there is something supernatural going on…

I enjoyed exploring around the pub and chatting with the several NPCs; the game uses an “ask person about subject” conversation system, which worked well here, as your explorations and conversations reveal new topics to ask about. There are two people, June and Sally, in the kitchen, and sometimes one would chime in while I was talking to the other, or I’d ask one about a subject then ask the other and get a different answer, and both of these things made the conversation feel natural and well developed—the NPCs aren’t just information-giving-machines, but have their own personalities.

Something that clashed a bit with this, though, was the ambient messages (is there an actual term for these?)—the ones that fire every one or two turns and usually repeat in a cycle or at random. They got repetitive fairly quickly, and the ones in the kitchen were sometimes at odds with the ongoing conversation:

>ask sally about pub
“Oh it’s an old pub this, with history back as long as your arm,” says Sally. “Sometimes I wonder if the place is haunted. Right enough we’ve been having cold spells lately. And odd noises.”

“I hope the diners enjoy the latest food,” says Sally, hard at work.

The pacing felt a bit rushed, too, especially since the investigating was less about finding clues and more about triggering a supernatural incident that suddenly whisks you back into the past—but that was a very fun and unexpected twist, and I enjoyed seeing the same place in two vastly different time periods. Even better, you’re given the chance to change the past and thereby put to rest the ghost who’s been causing the problems in the present day.

This was a fun little puzzle that allows for experimentation, as you get several attempts before the game moves on. The reset felt a bit random, though, as there was no in-game explanation for why you were given repeat chances (but only three of them). But fortunately it’s easy to continue trying, as the sub-optimal ending conveniently gives you the option to jump back to the beginning of the puzzle.

Either way, after you fail or succeed, the story suddenly skips ahead an unspecified amount of time in the future (back in the present day), with no transition explaining what happened when you returned to the present, how your friends reacted to your story, etc. I liked the wrap-up at Will’s grave with the vicar, but I would have preferred some closure with the pub owners, too, given that they were the reason the PC got involved in all this.

Transcript!
BadBeer_script.txt (52.0 KB)

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Thank you for the review and the transcript too! :slight_smile:

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Deliquescence by Not-Only But-Also Riley

I’m torn on this one. It’s like a bleaker Queers in Love at the End of the World—you only have a brief amount of time left with someone close to you, and you have to choose how to spend it. Both play out in real time, with a clock far too short to exhaust your myriad options. In this one, though, only one of you will die when the clock runs out, which brings an entirely different (grimmer) mood.

There were moments where I really felt the emotional weight of the situation, but also moments where I was thrown out of it and felt very disconnected. The game starts in media res; the PC is already here with their friend, both of them knowing these will be the friend’s final moments. But the game didn’t fully sell that; the range of options you’re given includes things like “do research” and “ask if she ever learned why this is happening, neither of which makes sense when she’s literally dying in front of you. There was a tension between “let the player try all the things” and “these two people know each other and have history together and would naturally already have exhausted some of these options.”

Going along with this, on my initial playthrough I felt a bit overwhelmed at how many options there were and wanted to know more about the situation, which immediately put me at odds with the PC, who would already know all the things I was curious about. Instead of roleplaying as a good friend, at first I was just seeking out information to give me more context for the present moment.

In general, there’s a feeling of coldness and remove, which contrasts with the horror of the situation. In the friend’s final moments, as her death is actually described, you can no longer act at all; she melts away and all you can do is sit back and watch. Over and over if you replay, which I did, wanting to try different options, and seeing her die repeatedly left me desensitized to it. Replaying also made me very aware that while the game is about trying to comfort the friend, the emphasis is very much on the PC. They’re the the only one with agency; the friend has no last requests unless you prompt them (e.g., if you bring up her family, she asks you to keep an eye on her brother after she’s gone, but she won’t mention that otherwise).

But then, there are some excellently written, emotionally hard-hitting details that convey so much in just a few lines. If you take her hand:

You hold it lightly. There is a shocking amount of give to it. You could squeeze, and her whole hand would gush out from between your fingers. It wouldn’t even be a hand anymore.

In response to this gesture, she tells you, “My mom wouldn’t hug me, wouldn’t even touch me, the last time I visited. She said the ‘goop’ I left would stain her sweater… she said to keep off the rugs.” Damn. No wonder she values my simple company so much. The line that hit me the most with its pure evocative horror was: “You listen to the steady drip of her toes and feet along the rim of the drain.”

And in all my replays, I managed to find some options that felt the most right, the most meaningful. There aren’t any wrong choices—even if you do absolutely nothing, just let the clock run out, she’ll still say she’s glad you were there—but my favorites were the things that made her smile or laugh (dancing, and drawing in the goop of her melting body). Like in QiLatEotW, seeing those moments of joy in the midst of horrible circumstances made me feel something.

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LATEX, LEATHER, LIPSTICK, LOVE, LUST by THE BODY & THE BLOOD

Review

I connected to this game’s protagonist, L, as soon as I started reading. Like him, I’m afab and trans. I’ve been through periods where my main social support was online communities. I have little experience with offline queer spaces. I am stricken with debilitating social anxiety. LLLLL’s first scene hits on all these things, capturing painful feelings that I have also had so sharply and perfectly that it had me tearing up. The self-loathing. The feeling that you don’t belong. That you aren’t right. That other people have a confidence you will never have. Longing for human connection but paralyzed by social anxiety. Feeling like I’m broken because I can’t just be chill like normal people.

I can’t sit down at the bar because I don’t know how it works. I don’t drink just because I didn’t have friends back then and I was never introduced to it. Not even for a cool reason others have like religion or diet or personal growth. You’re expected to just know what to do and how to order a drink and you can’t ask how to do that in a place like this can you?

Feeling a step behind everyone else, lacking essential knowledge that everyone but you has. Having all this laid out, these exact feelings that seem so personal and shameful that they shouldn’t be spoken of, made me immediately invested in L and wherever this story would take him.

And one place where Act I takes him is the internet. While I’ve been lucky to never be in an online space as toxic as L’s Discord group, the personalities and the interactions certainly rang true based on people I’ve encountered and interactions I’ve seen play out online. The game’s antagonist, L’s online friend Gestirn, starts out as a chillingly familiar type. They’re possessive and controlling of L under the guise of caring about him. They act like they’re the arbiter of moral rightness and as if anyone who disagrees with them is committing a terrible infraction. They plaster the label “abusive” on other people while being incredibly abusive themself.

As soon as L meets a fellow trans man in person and strikes up a friendship with him, it becomes clear that there’s going to be a narrative arc of L forming offline connections and recognizing the toxicity of Gestirn and his online communities more generally. But sadly, the game started losing me with the way this arc was handled. I recognized Gestirn as a terrible friend (and person) pretty quickly; they have no positive qualities, and L talks to them not because he likes them as a person, but because he has no other friends. But it takes five acts (and about four hours, at my reading speed) for L to recognize Gestirn’s awfulness and drop them—if you get the good ending, anyway. The momentum of the game’s first half sputters out as the narrative becomes intent on hammering home the point that Gestirn is awful—something I recognized back in Act I. While I can understand why it would take L longer than me to recognize that (I’m 10 years older than him, have been through my share of shit that’s helped me be able to flag toxic people pretty quickly, and have a good support system in place), that wasn’t enough to justify the pages and pages of online arguments between Gestirn and other server members or all the one-on-one conversations between Gestirn and L after that.

The issues with Gestirn also go beyond pacing. By the end of the game they’ve devolved into a villainous caricature, ultimately advocating for eugenics before L finally cuts them loose. And they’re not just a terrible person—they’re also made out to be physically repulsive. Here’s a bit from when L gets on a voice call with them:

A few moments later, they burp.
.jesus christ not the burps not the fucking burps again
…
“I keep burping from a medical issue,” they say, as if I’m not here. “I don’t eat much which causes a gas build up. It’s why I’m fat. My poverty diet. Nobody believes that’s not my fault.”

Soon after this conversation, L has a dream about Gestirn, which includes the following descriptions:

Gestirn stands up, grunting as their leg fat wobbles to keep them upright.

A mishmash of parts from human and animal alike all built into an organic perfect machine of rage. The way they’re jumping and stamping, the fat jiggling up and down and rippling…
God. They look fucking disgusting.

And of course they haven’t burped. They’re too busy screaming to notice what’s happening to themself. The gas is building up. It’s expanding. Their stomach. Their cheeks.
But they can’t stop. It’s too late. If I wanted to help, there’s nothing I could do. And, really, I just don’t fucking want to.
Gestirn explodes.
Their blood and guts, a slurry of fat and green, splatters both of us head-to-toe.

So, the character who has become the game’s epitome of evil is described as disgusting in a way that’s explicitly tied to their fatness and their GI issues. This moment is so suddenly and unnecessarily cruel that it severed my emotional connection with the story. And we’ll get back to that moment in a minute, but first let me talk about Val, the trans man L meets who I mentioned above. During the prologue, we see L self-consciously daydreaming, longing for “My imagined Perfect Person to come along and save me from everything I continue to do to myself and can’t help perpetuating.” Right after that, Val walks up and ends up inviting L to come to his apartment sometime. Cue L’s inner monologue:

This is what I wanted. I wanted someone to walk up to me, be smitten by my mediocrity like a wet cat in an alleyway, and pull me into a world I’ve been enchanted by for years.

And… that’s kind of exactly what happens. The role Val plays in the story is being exactly the person L needs. He introduces L to latex kink (the world L is referring to in the above quote), helping and supporting him every step of the way. He’s always available when L wants to hang out. He (and a friend he introduces L to) gives L his first sexual experience, which is mind-blowingly amazing. When L is interested in going on a date with Val, Val is likewise interested. When L concludes they aren’t a romantic fit, Val agrees with no hard feelings. Val supports L through the online drama and is there with him at the story’s end, promising lasting friendship.

There’s nothing wrong with L getting this; it’s nice wish fulfillment, but the beginning of the story didn’t lead me to expect that kind of narrative. And more than that… well, let’s return to the dream. As Gestirn rages at L, Val walks up and kisses him. Val, who, in stark contrast with the repulsive Gestirn, is the perfect trans man—he’s fit, he passes, he’s conventionally attractive. And, as the dream strongly foreshadows, it’s his presence in L’s life that causes L to finally drop Gestirn:

Now, with Valentine, and how he makes me feel, I’ve realised something.
This isn’t a friendship. This is suffocation.

I have no issue with a narrative of “getting a real friend makes you realize how bad your old friends are.” But I do have a problem when said narrative perpetuates tired stereotypes around beauty and respectability that should have no place in queer media in 2024. I want to see love/lust interests with imperfect bodies. I want to see fat queer characters being happy and loved. I want queer media to reflect the real-life diversity of queer bodies without judgment.

The rest of the game does nothing to subvert the beautiful/ugly or good/evil dichotomies of Val and Gestirn, and in fact it adds another one, offline/online. Gestirn and several other people in L’s Discord server are steeped in online queer discourse, letting strangers with strong opinions dictate for them who’s right and who’s wrong, who’s morally good and who’s evil, which identity labels are harmless and which make you a TERF. The game calls out how reductive this all is, but in doing so it portrays online spaces as inherently toxic and offline communities as inherently healthy, showing the former doing L only harm and the latter doing him only good. I speak from experience when I say that in real life, things are not that simple.

When I started this game, I thought I was in for a nuanced story about being queer in 2024. When I finished it, I just felt kind of empty.

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Great review. I felt very similar about the amount of time we spend with Gestirn, long beyond the time when the reader has probably realised this person is Not Great To Have Around. That said, I totally understand how difficult it can be to cut characters like that out of your life, and I suppose that this long painful goodbye is kind of honouring that difficulty.

Media where the characters don’t seem to be able to act on information that’s blindingly obvious to the audience is a tricky thing to do.

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Your review is appreciated. I was wondering if the subtext of L’s biases inherited from his circumstances and communities, and their unmasking as L’s temper escalated as the story progresses would come across for those outside the target audience. Very much in spite of the “justified” means L has to dislike Gestirn, and really, he has no need to justify anything, but still carries a need to find moral superiority, very similar to Gestirn desperately finding a justification for their dislike of autistic people rather than confronting the belief in the first place. Parallels and hypocrisy are a foundation of this experience, and I’m very glad this was able to be communicated outside of the audience it was targeted for.

Cheers,
– THE BLOOD

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The Saltcast Adventure by Beth Carpenter

Review

I liked this one a lot! Normally I get a little antsy when an IF game starts with several long screens of non-interactive text in a row, as I start wondering when I’ll be able to participate in the story, but I was drawn into this one right away once I learned the identity of the protagonist: a starving mother taking a desperate, foolish risk for the sake of her family. Way more interesting than a confident, sword-bearing hero! When “what do you do”-type choices start appearing, while they don’t always necessarily matter plot-wise, I liked how much they focused on characterizing the PC, Madelaine. For instance, the first one comes after you’ve entered the monster-infested cave and the opening seals up after you. You can stoically continue on, or have a moment of panic and bang on the blockage with your fists. I chose the latter, which only resulted in bloodied hands, but I liked getting to roleplay Madelaine as getting freaked out in that moment. Games where the PC is a specific character that I get to inhabit are usually my favorite mode of choice-based IF (and the one I largely write), so that alone had me hooked.

As the story went on, the plot got me, too. This game has a familiar fantasy backdrop but puts its own spin on magic and magical creatures, and I enjoyed accompanying Madelaine as she finds out there’s much more to the world of the Saltcast than she ever knew, and gets pulled into their struggles while still sticking to her own goal. I chose to play her as compassionate, willing to give these creature the benefit of the doubt and choosing kindness as much as she could, and the fact that I could have taken contrasting, more ruthless and self-serving options made my choices feel more meaningful. And playing Madelaine this way meant that the mission she ends up on with the Saltcast became personal, rather than just a means to an end. Even as the stakes grew beyond just Madelaine and her family, the story always stayed very grounded in Madelaine’s role in the events and her concerns, which I appreciated.

When, in an excellent twist, Madelaine becomes fully (literally) absorbed in the larger-scale goings-on, I loved the author’s choice to do a time-skip and a perspective shift. Part 3 has the player embodying Madelaine’s daughter, 10 years after the end of Part 2, as, in a parallel to the game’s opening, she enters the cave for her own family-motivated reasons—discovering her mother’s fate. This lets us see the effect Madelaine’s actions had on her family (and beyond), and allows for a resolution to her story that wouldn’t have been as satisfying if we’d stayed in her perspective.

I do have a few things to nitpick as far as presentation. I think a slightly more dressed-up UI would be nice, something with stronger fantasy vibes—a more distinctive font, a curated color for the links, styling of the sidebar, etc. And while I liked the artwork—I think the one of Grissol was my favorite, and the changing representation of the lantern in the sidebar was a nice touch—it could be integrated a bit more smoothly; it usually loaded slower than the text, and its placement in the middle of the page felt a bit awkward. (I also encountered a broken image toward the beginning, the one of a spellbeast.) So some adjustments to the UI and the handling of the images could make the whole appearance tie together better.

Finally, this is a small tweak that IMO always makes a big difference as far as player immersion. Sometimes IF has the player backtracking—going back to a room we’ve already seen in a parser game, or returning to a previously-visited page in a Twine game. In these cases, I always want the text to be updated to reflect the current game state. E.g., the first time I enter a room in an Inform game, it might say, “You open the door cautiously, unsure of what you’ll find inside”—but that should be special, one-time text rather than being part of the room description that I see every time I go there. Likewise, in Twine games, I find sequences like this immersion-breaking:

screenshot of a line of NPC dialogue followed by links to topics the player can ask about
screenshot of a line of NPC dialogue followed by links to topics the player can ask about734×242 33.6 KB

Clicking one of these links takes you to a new page where the NPC answers the question, and that page ends with:

screenshot with a link reading "go back"
screenshot with a link reading "go back"880×168 22.9 KB

Click “go back”, and…

the first screenshot again
the first screenshot again734×242 33.6 KB

Sequences like this remind me that I’m essentially clicking around a website, which breaks my immersion in the story. Instead of the meta “go back”, I’d have that link say something like “ask another question”, and would also have the page with the list of questions update to replace that line of NPC dialogue with something that reflects that we’re now mid-conversation.

Anyway, I mention these things because they’re fairly small changes that I think would make an already great game even better! I’m glad I was able to fit in a playthrough before the Comp’s end.

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With seven full-length reviews and 10 mini reviews (the latter all posted in their respective game threads), I think that’s it for me this comp! I really enjoyed being able to talk about the games in the dedicated threads without the pressure of writing full reviews—whether that meant writing a so-called mini review or just sharing a few thoughts/reactions/questions. But I’m glad I got some actual reviews written, too.

A shoutout to the games I tested—while I haven’t experienced any of them in their final forms, I enjoyed the time I spent with them!

  • The Bat
  • Bureau of Strange Happenings
  • The Den
  • Miss Gosling’s Last Case
  • Winter-Over
  • You

This was my second IFComp, and once again I quite enjoyed it. I’m planning/hoping to be an entrant next year… (yeah, I said that last year too. But I’m saying it publicly again to hopefully help hold myself accountable!)

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