Among the next ten games on my Random Shuffle are four games that are billed as “longer than two hours”. It’s going to be hard to keep motivated that way.
I started a few of the longer games at the beginning and am just going back to one or another from time to time as my interest returns.
Just means I have to remember not to close any of my tabs…
Thank you for your precious time. I agree with almost all of your negative notes.
Anyway i posted the official walkthrough of the game.
As i said, i intended to recall the style of the adventures of those years (80th mainly).
The system is the “Modulo Base” by Enrico Colombini ( the first Italian Author of IF) that i modified for my needs.
I hope some day you will want to try it again.
There is a little secret in the apartment waiting to be discovered.
Lovely Assistant: Magical Girl by Bitter Karella
I’ve played Bitter Karella’s two previous IF Comp entries, Basilica de Sangre and Poppet. Both involved interesting setting and some nice puzzles, but ultimately made me deeply frustrated as I struggles with the Quest parser. So I was happy to see that Lovely Assistant is written in Inform 7. And while this game is still not completely polished – there are quite some missing synonyms, for instance – I never struggled with its parser. So that’s a big win as far as I’m concerned!
Lovely Assistant casts us in the role of the assistant to a famous magician-cum-superhero, who is spirited away by one of the supervillains, the Skeptical Rationalist. It is up to you to use all the tools of the magician’s trade to solve a series of puzzles and find your boss.
This is a very light-hearted little game, in which the whole setting is over-the-top and the villain’s actions are even over-the-topper. (Using a laser to write a message on the moon! Use operand conditioning to make the doves fly in a pattern! Obviously, the joke is that the Skeptical Rationalist is a magician himself, except that he insist on explaining all of his tricks.) The use of magical gadgets was sometimes rather mundane – as when you use the saw to, well, saw – but one or two of the puzzle solutions are inspired, with my favourite being the scene where you pull unlimited rabbits out of a top hat.
Sage Sanctum Scramble by Arthur DiBianca
Sage Sanctum Scramble is a series of language, letter and wordplay puzzles connected by only the loosest of narratives. Where earlier Arthur DiBianca games like The Temple of Shorgil were essentially attempts to delve incredibly deeply into a single puzzle mechanic, Sage Sanctum Scramble is more a collection of every puzzle mechanic that DiBianca could think of that was even vaguely related to language. Sometimes, you have to come up with words that fit a particular semantic and syntactic category: flowers that are 5 letters long. Sometimes, you have to study how words are transformed using more or less complicated alphabet cyphers. Sometimes, you have to engage in wordplay.
It’s all implemented very well, and the puzzles are fun. To be sure, some are a little hard for a non-native speaker like myself (I sure spent a lot of time with anagram solvers, synonyms websites and general google searches), but that is hardly DiBianca’s fault, and I enjoyed the opportunity to improve my skills. (Did you know that there are actually two plural fruit that can be formed from SALMON by substituting one letter and then rearranging them? I was proud of my MANGOS, but alas, I needed MELONS.)
Being a loose collection of vaguely related puzzles does mean that it’s all a little inconsequential, of course. Good fun, but not something that will stick with me as much as the authors previous games.
I think it says that it’s a “thumpable” fruit, or something like that, but this didn’t make much sense to me.
Ha, that’s interesting. A lot of people in the US use the phrase ‘thumping’ to described the process for deciding if a watermelon is ripe or not, since it sounds more like melons than ‘hitting’ or ‘thwacking’. If you search ‘thump melons’ there’s a lot of advice articles about, so I guess it’s a cultural thing.
Wow. Perfect example of a puzzle that turns out to be easy or hard depending on your cultural background!
Hi VictorGijsbers - thank you very much for your review of The Eidolon’s Escape. I’m really pleased and proud to hear that you had a good time with it and I’ve very much enjoyed reading this and your other reviews.
@VictorGijsbers My game is no longer in the competition
hi victor! i know you wrote this review over a month ago, but i just wanted to thank you for it. yours is possibly my favorite review of quintessence! this is my first year in the competition (or on the forum) and i’ve really enjoyed participating. i’ve also enjoyed seeing the real-time reviews. yours builds up so much tension and then makes me smile with the (i’m paraphrasing) “stunning artistic vision, but does it deliver – uh, no.” i’m just happy to be here! : ) your thoughtful review was filled with loads of kindness, which is what you offer in all your reviews, and i am impressed by it! thank you again!
I’m glad you liked it! When I wrote it, I was thinking that although the review wasn’t entirely positive, maybe it would make the author feel understood – and that, in my own experience, is the most gratifying thing a review can do.
How The Elephant’s Child Who Walked By Himself Got His Wings by Peter Eastman
The stories in this piece of interactive fiction are based on Kipling’s Just So stories. Not having read them, I couldn’t really compare How The Elephant’s Child Who Walked By Himself Got His Wings with the original… but since Kipling is freely available here, and since the stories are very short, I read two of them just now.
Wow. Do I prefer Eastman to Kipling. It’s altogether too trying-hard-to-be-cute, too laborious in its whimsicality, too moralistic in its supposedly carefree inventiveness. Yes, as Eastman justly remarks, the poetry is bad. But I’m not sure the prose is much better.
How The Elephant’s Child Who Walked By Himself Got His Wings, on the other hand, is whimsical but with just the right amount of narrative logic; carefree with just the right amount of seriousness; and cute without trying. Very enjoyable.
Also: yes, I’m back after a hiatus! I spent a week without a computer, and then when I came back I guess I got caught up in reading some books (mostly by or about Wittgenstein), watching some television (which I almost never do, but now I’m almost through the first season of The Good Place), and, uh, being totally obsessed with the U.S. elections. Definitely hoping to play some more IF before the competition ends!
Stand Up / Stay Silent by Y Ceffyl Gwyn
Clearly, I spent too much time mulling over one of the things the game tells us about its own message: “Black lives matter. That’s a statement of human rights, not politics.” If anything is a statement of politics, it is surely Black Lives Matter. It is one of the central political statements of our time, involving as it does politically contested conceptions of society (as systematically racist) as well as politically contested solutions to society’s problems (taking money from police departments and spending it in different ways, retraining US police forces to be less violence-oriented). Of course this is politics. And how could ‘human rights’ contrast with ‘politics’? Surely human rights only make sense in a political context? They don’t exist in a Hobbesian state of nature! I guess you could hold some kind of divine command theory of human rights, but then you’ve sort of just taken politics and projected it into the realm of the divine… anyway. All of those reflections are perfectly irrelevant when it comes to playing and understanding the piece Stand Up / Stay Silent.
It’s a very short game in which we play through two scenes in a future society on Mars. We don’t learn much about this society; it contains some form of police violence, but we are clearly expected to take our ideas about contemporary society – possibly contemporary US society specifically – and project them onto Mars. The sci-fi is more for colour than for substance. In each of the two scenes, we can choose to either Stand Up for human rights, or Stay Silent and do nothing. I didn’t play through all possible combinations, but if you Stand Up both times, you end up being part of a powerful and seemingly successful BLM movement; whereas Stay Silent loses you both your significant other and your freedom, as the police ends up barging into your apartment.
As other reviewers have noted, this plotting seems to weirdly sugar-coat the reality of protest. Protest doesn’t involve any real sacrifice. Staying silent doesn’t bring any rewards. I’m not saying that it’s impossible to make a case for this; there is real camaraderie and sometimes success to be found in protest, and we all know the famous Niemöller poem about what happens when you don’t speak up for others. But in the case of Stand Up / Stay Silent, the combination of a sketchy world, a dualistic moral dilemma, and a suspiciously neat resolution, end up generating a game that feels curiously flat and unemotional. I wouldn’t call it bad – among other things, I quite enjoyed the writing – but there’s definitely a lot of untapped potential here.
A Rope of Chalk by Ryan Veeder
I want to object, in the strongest possible terms, to the way that mister Veeder has presented the events of August 27, 2011. I am aware that in order to peruse the contents of A Rope of Chalk, I had to waive all my rights of criticism; but the legality of such a move is doubtful at best; and what’s more, with the instalment of ACB to the Supreme Court we can now rest happy in the knowledge that all the freedoms I’ve ever cared about will be defended. No, mister Veeder, you cannot silence me now, as you have so maliciously attempted to silence me in your work, depriving me of my right to exclaim!
I see him in my mental eye, our coward author, hiding behind the role of ‘editor’, merely portraying the ‘experiences’ of what he considers to be the event’s ‘main characters’. And he does it well, indeed very well, pulling the reader along on a rope of chalk through successively more psychedelic scenes, while slowly revealing both story and backstory of the fateful event. He is a master of distraction, making us smile at this detail or that, perhaps even eliciting a loud-out laugh when, say, Nathalie invokes the monomyth to explain her absence. Mister Veeder masterfully strings together several kinds of scene, of narration, keeping the player on the edge of her seat, having great amounts of fun and enjoying the characters.
FUN and CHARACTERS! That’s precisely his trick, isn’t it? By reducing the whole incident to the mistaken actions of individuals, and by painting those people as fundamentally endearing, mister Veeder papers over the systemic failures that lie at the bottom of the entire disaster. It is certainly a message that is very convenient for the institutions! For how is it possible, we ought to ask, that dangerous psychoactive substances are easily available and widely used by our university students? Why is the University of Iowa not more active in the War on Drugs? Why do we still allow our children to be endangered by liberal hippie values from California? Why were there no repercussions? How is it possible that the arts honours class simply reconvened next year, without serious value-based oversight and religious counselling? How much has mister Veeder been paid by the Board of Regents to reduce their own egregious moral failure to a mere – if superior – instance of entertainment? And if anyone can doubt the basic mendacity of mister Veeder’s portrayal of the event, let me stress that the slogan I wrote was not “RON PAUL 2012”, but “RON PAUL 2012!” That exclamation mark was not optional!
Judges of the competition, we must make a stand against this liberal brainwashing. Please vote, and let your votes wash over this dishonest piece as a cold bucket of water washes over sidewalk chalk art! I have spoken.
Deus Ex Ceviche by Tom Lento & Chandler Groover
Deus Ex Ceviche is the story of an emerging AI/computer/God in a world where software, fish and religion are indistinguishable. Devotionalia meet Deus Ex would be a fairly accurate description, except that this would not clue you into the game’s gameplay, which is a sort of resource/worker allocation mechanism that you use to amass a set amount of resources. Once the right amount of resources is achieved, you can upgrade yourself; after three upgrades, you have become a corporate fish-God-computer.
Which… okay. It’s original, and the writing is very good, although the repetitive nature of the game and the remoteness of the scenario made me skimp over some of the text. I also never got a sense that the text helps you in any way. The resource game is, I think, deterministic, but has so many degrees of freedom, and is spelled out only so vaguely, that one ends up just putting random combinations of disks/helpers into the slots again and again and again and again, waiting for the moment that finally one of your resources is at 10. There’s a suggestion at the end that how you played has some effect on the kind of God you become, but this would presuppose some kind of agency over the unfolding story, and I certainly never felt that I possessed that. This is perhaps more an experience than a game.