Victor's IFComp 2023 Reviews

That is really sweet of you to say! Considering this is my first time, it feels great to see other writers really break down my writing and let me see ways I can improve on my stuff so that next time I can make something even MORE scarier. -cackle-

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The Little Match Girl 4: Crown of Pearls by Ryan Veeder

Is The Little Match Girl my favourite fairytale? There are other fairytales that have better, more interesting stories. But ever since I was a kid, The Little Match Girl has had a special place in my heart because it makes me cry. Not that it’s that hard to make me cry. In fact, dear readers, it’s (in)famously easy. When in Piglet’s Big Movie Piglet realised that the other animals were really his friends, I cried. And I was 40 years old when I watched it. When I and my wife have a spat, I usually end up holding back my tears while my wife complains that it’s no fun being angry with me because I cry too easily. But most fairytales don’t go for the tear ducts. Except, of course, for The Little Match Girl, which goes for it in the most direct and melodramatic way possible. What can I say? It’s not great art, but I love it.

Although The Little Match Girl 4 is ostensibly by Hans Christian Andersen, it doesn’t have much to do with the original story. Not having played the previous instalments, I rely on the in-game background to tell you that the original little match girl, instead of dying in the Copenhagen snows, found that the she could travel through time and space by looking intensely into a fire. She then became a sharpshooter and vampire hunter, as well as the adopted daughter of Dickens’s Scrooge, who christened her Ebenezabeth. All of which makes little sense. Luckily, however, Ryan Veeder has a talent for taking something that makes little sense and then handling it as if he had no inkling about its senselessness… and then it starts making sense. Throwing together crazy ideas and then revelling in their craziness tends to get old pretty fast. But throwing together crazy ideas and then moving forward as if it’s all perfectly normal, well, that is a way to generate unique and memorable settings. And I don’t know if there’s anyone in the IF scene who has developed that technique as much as Ryan has.

TLM4 is a light puzzle parser game with all the impeccable writing and smooth gameplay that one expects from a Veeder game. It’s supposedly inspired by Metroid Prime, which I haven’t played, but I gather that the basic idea is that you get new powers as you move forward, and these powers open up new passageways in areas you have already visited. In this case, your list of powers is simple: the ability to transport through fire, shooting flaming bullets, turning into a mouse, scanning things, and unlocking anything. All the puzzles in the game require you to use one of these powers, so it’s fairly easy to get through everything without using the hints. You’ll visit a wide variety of locations, which are heavily interconnected, and all of which correspond to one or another standard genre trope: dinosaurs, vampires, pirates, the Old West, spaceships. But Ryan brings enough charm and slight twists to each of them to make them feel fresh. The vampires are trapped in a terrible endless meeting; the pirates are, if I’m not mistaken, straight from Gilbert & Sullivan; the spaceship is being looted by space pirates who are more interested in vague mischief than real harm; and the journal you find near to an abandoned mine is… not what you expect. It doesn’t cohere into a single setting, but all of it is fun.

The most intriguing thing about TLM4 is its tone. So much about it screams ‘light-hearted fun’ that I’m tempted to say that this is a game of light-hearted fun. The off-beat genre takes. The smooth, simple puzzles. The standard video game trajectory of getting more and more powers. The basic treasure finding plot line. And yet… it is quite obvious that at least one person is not having fun, and that is the little match girl herself. She is, if not quite a tormented person, at the very least troubled; even, perhaps, a little dead on the inside. We are told repeatedly that she no longer has the ability to be astonished at the majestic grandeur of the universe. She claims to make friends in all kinds of places, but she doesn’t make friends at all, and the only person she has an emotional connection with is a guy she cannot forgive. And then there’s a brief scene where we are transported back to Copenhagen, to the snow, to the hovel where she, as a child, is suffering with her brothers and sisters, waiting for salvation. It’s all there in the game, but it’s never really thematised; it’s not hidden, but still never allowed to take over from the light-hearted fun.

I’m tempted to read all of that as a parable of Ryan Veeder’s creative activity. If you follow him, you see a man who creates fun in many ways: elaborate RPG campaigns, highly polished IF games, cute plush toys, music tracks. But there’s a darkness there too, never allowed to take over the work, but never quite absent. Like the little match girl, Veeder is shooting his flaming bullets around for all of us to enjoy – but who knows how he feels on the inside?

Which is probably terrible psychologising. But hey, that’s a parable for my creative activity; always trying to bring that darkness to light, get it out in the open, put it at the centre of attention, and then, if I really indulge myself (which I usually try not to), go for the tear ducts. What can I say? I love it.

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ugh EXACTLY

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Thank goodness, @Afterward thought when he realised that at least one reviewer had grasped the autobiographical nature of LMG4. He hadn’t felt this understood by another human being since that time Jenni bought him a Cthulhu-themed novelty toilet brush for Valentine’s day.

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I’m digressing from my randomised list for the first time. Yesterday, I was lying in bed, quite ill, and a short Texture game seemed perfect. I replayed it today, now that I’m feeling better, and so here is a review of

The Sculptor by Yakoub Mousli

The best moment in The Sculptor is the description of the final statue. This is a hard moment for any artist. When you’re writing about a fictional masterwork, you need to describe a masterwork in terms that make it believable for the reader – but of course, without having to actually make that masterwork yourself. Here’s what Yakoub gives us: an old nude man, wrestling down a falcon that attempts to peck his heart, raising a scythe with which to kill the falcon; meanwhile, the old man is being strangled by his own beard, and water flows around his feet, washing the shame away.

What I love about this is how it audaciously combines several motifs from European art into a single vision. The man is, clearly, Old Man Time, or Death, with his scythe. But he’s also Saint Michael fighting the dragon, as well as Prometheus, his innards being pecked at by a bird. And being strangled by his own beard, well, this cannot help but remind one of Laocoön being strangled by the snakes. As for the water, I heard these lines of Elliot in my mind:

A painter of the Umbrian school
Designed upon a gesso ground
The nimbus of the Baptized God.
The wilderness is cracked and browned
But through the water pale and thin
Still shine the unoffending feet
And there above the painter set
The Father and the Paraclete.

Which would make the man also Christ. Death, the angel, Prometheus, Laocoön and Christ, all rolled into one – yes, that makes sense as the masterwork that this sculptor has wanted to make, and we accept on faith that the statue does justice to the idea.

To be fair, much of The Sculptor doesn’t quite live up to this standard. The basic idea and setting are fine: it’s an interesting protagonist, this very old artist in dire financial circumstances with one last chance of achieving his ambitions. The thematic development is more problematic. Other reviewers (Mike Russo, Brad Buchanan) have already pointed out that the game’s final choice, between destroying your work of art to keep it pure and selling it even though this sullies you, is simplistic. I’d go further and say that it comes close to a fundamental misunderstanding of art. There’s nothing pure about keeping your art for yourself. Something isn’t art if it doesn’t aspire, at least in principle if not in practice, to universal recognition; a work of art is a bond between humans. Destroying it so others cannot see it not l’art pour l’art, but the anti-artistic gesture par excellence. Perhaps the point is that the sculptor is too embittered to embrace art himself, but if so, the point doesn’t come out clearly.

The writing, while it has it moment, is also frequently marred by errors (“they certainly knows your name”; “She in informs you”; a choice labelled “Sand” that I think should have been “Stand”; people who want to buy your “sculptor” when “sculpture” is meant). And it sometimes loses itself in a language that’s a bit too flowery for its own good. Or maybe not flowery; I suppose the problem is that it sometimes becomes imprecise, exactly at the moments when it tries to be metaphorical, which are the moments when precision becomes most crucial. An example:

On the marble’s waves ran the memories of your lost days.
And through them shimmered back the reflection of tears, now held up by your thirsty, wrinkled lids.

I’m not totally sold on the memoires running on the waves, though I guess it might be possible to express oneself that way. But then the word ‘them’ generates instant confusion. Who’s the them? The waves, the memories, or the lost days? It’s something through which the reflection of tears shimmers back. Hmm… if it’s a reflection, then it’s probably not going through something? And my thirsty lids, are they drinking the tears? That’s weird. Also, if the tears are held up, how can they shimmer back? Lots of questions, and the point is, I shouldn’t have any questions. I should be surprised and possibly delighted by the metaphor. But for that, it needs to be made more precise. This would work a lot better for me:

On the marble’s waves danced the memories of lost days, shimmering and distorted as one, two, three tears squeezed past your wrinkled lids.

And of course there are a million other ways to rewrite it.

The Sculptor didn’t quite convince me, then, but there’s some real artistic vision going on here, and a desire to talk about stuff that matters. I’m here for the author’s next game.

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Dysfluent by Allyson Gray

A few years ago I had a student who talked extremely slowly. He didn’t stutter, he just took a very long time between words. I admired the fact that he nevertheless frequently asked questions during class – even if the class had to wait five minutes for the question to be finished – and, although adding this should not be necessary, they were good questions too. (Indeed, he was one of the best students in that class.)

Later on I did supervision sessions with him which were, well, long, because he wasn’t just asking questions, but explaining his ideas and goals for the thesis at the same very low speed. I had a lot of time to reflect on the experience during those sessions. There were certain weaknesses on my side that I needed to work on; e.g., my mind tended to wander, which was something I had to combat; and some annoyance sometimes crept in, especially as I saw the clock ticking towards the moment I had to start doing something else, which I needed to suppress too. But I also wondered whether there was anything I could do to help him. Sometimes he seemed stuck on a word that was obvious to me. Should I help him out and say it? I decided against this – it seemed more rude than helpful, possibly even just adding a source of stress. With even more time to reflect on it, and being spurred to do this by playing Dysfluent, it now seems rather obvious that I should have simply discussed this with the student. Or not? To be honest, I find it difficult to choose between the “I’m not even going to mention this thing because it would be rude to imply that something about you is not the way it should be” line and the “let’s discuss this so I can do things in a way that is most helpful to you” line. But I suspect that the first line, the line that I in fact chose, is too much just me being afraid of embarrassment, and not enough me being helpful. I can probably use some advice on this from people with more experience being on the other side of that table.

The relation between all this and Dysfluent should be obvious. Allison’s game is a very effective piece that puts you into the role of someone who stutters, as they get through a day in which they need to perform several tasks that involve talking. Interactivity is key. By giving you the choices that the protagonist faces, and letting you live through their successes and failures, Dysfluent does more to generate understanding of what it’s like to stutter than a non-interactive story does. The use of slow timed text, usually a big no-no, is actually something you are not allowed to complain about in this case. To complain about it would be to refuse to put yourself in the protagonist’s shoes – and while that’s fine for, let’s say, some random horror game, it’s not fine for a piece that is all about generating understanding of a real-world phenomenon.

I love the use of colours in this game: green dialogue options are easily said, yellow ones will come out with some difficulty, red indicates a full-on block. I assume that it’s a good reflection of how the protagonist experiences their stuttering. It’s not a complete surprise; there’s some premonition of what you’ll be able to say, and what you won’t be able to say (as easily). And it generates some excellent dilemmas. The best of those is during the job interview, where you can choose fluency (green) or accurateness (yellow). Of course you choose accuracy. And then you get another choice, but not fluency is green and accurateness is red. Ouch. What do you do? It’s a tough call, and of course that’s precisely the point. (I also enjoyed the sense of dread when, after telling the game what my favourite food was, I also had to tell it what my least favourite food was…)

If I have any criticism, it might be that the way the world reacts to the protagonist is so insensitive that it strains incredibility. Especially the flashbacks are all just straightforwardly horrible. I hope they weren’t taken from real life, though they have something of the autobiographical about them. It seems to me that even when I was a kid, stuttering was explained to me in terms that were far more nuanced than those used by the supposedly professional specialist we meet here in the therapy scene.

But overall, I think this is simple a very good piece of interactive fiction. It’s solid as fiction, built on smart design decisions, and it’s effectiveness as a tool for generating understanding boosts it further.

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The Finders Commission by Deborah Sherwood

Heist games are well-known genre, and with good reason. There’s a clear goal that requires ingenuity to achieve; there’s a spatial and temporal element that fits IF world building well; and of course here are opportunities for puzzles and suspense. As others have noted, The Finders Commission starts of with some pretty bizarre world building (and a weird choice between what seem to be five indistinguishable characters). But then it quickly turns into a fairly standard heist game. There’s the museum; there are some people to either manipulate or watch out for; a few opportunities for puzzle solving; and if it all goes well, you walk out with the loot!

Apart from one possible bug (the box that I believe I needed to turn off the alarm suddenly disappeared from my inventory), everything was solidly implemented. It’s bit strange that you cannot investigate the display before launching the chariot – the first few times I tried, I got interrupted, but later on the room was empty and I still wasn’t allowed to read the label. This threw me for a while. But I ended up solving the puzzles without too much trouble, felt some nice tension as I had to defeat a timed sequence, and was satisfied. There’s nothing truly memorable or innovative about the game, but it succeeds at being what it wants to be.

The biggest mystery of all was the breakfast my character claimed to be their favourite: buttermilk biscuits with sausage gravy. This sounded like the worst and most implausible thing in existence, so I did some googling, and found recipes in which I saw: biscuits that did not look like biscuits; sausages that did not look like sausages (but more like the minced meat you might put into a sausage); and most of all, gravy that really, really did not look like gravy. From what I gathered, it was more something like minced meat in a creamy sauce. All of which left me only more flabbergasted. Cookies served with meat and cream? As a breakfast? Now this is a mystery someone should make a game about!

(One small grammar thing: “She believes she is an ancient deity whom should be worshipped by all.” should either have ‘who’ instead of ‘whom’, or be rephrased as “She believes she is an ancient deity whom all should worship” If we’re using ‘whom’, we’d better be using it correctly! :smiley: )

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Hi Victor!
Thank you for playing and reviewing my game. I am working on the bugs this weekend and thanks for the grammar correction.
Please come visit us here in the South (USA), you’ll gain a deeper appreciation for biscuits and gravy!
This game started out to be way bigger than it ended up. Some of the other locations were also going to be playable with the sought after item being hidden randomly. I just ran out of time and had to pare it down considerably. A couple beta-testers enjoyed the ability to roam about so I left the other locations in. As always, this has been a wonderful learning experience.

Cheers!
Deborah

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It’s one of the more bizarre American-European linguistic differences—American “biscuits” are like scones in texture, but savory instead of sweet, and (Southern) American “gravy” is a béchamel sauce with meat juices; “sausage” here means just the ground meat without the casing. So your assessment is basically right: it’s ground meat in a roux-based sauce with a flaky or crumbly pastry giving it structure.

(But in our defense—the gravy is a sauce made with meat juices, and if our biscuits aren’t technically “twice-baked”, the Brits’ aren’t either!)

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Scones in the UK are essentially neutral. You can have them with cream and jam (or jam and cream), or you can have them just with butter. There are also cheese scones which are just what you might imagine. I actually quite enjoyed them in their incarnation as “biscuits” with gravy during my extensive travels around the American South.

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Huh! Around here “scones” are sweet and “biscuits” are savory, so the ones with cheese are always “cheese biscuits”. “Scones” generally have something like raisins in them to add sweetness.

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We have “fruit scones” here too, but we don’t talk about “fruit scones”.

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Okay, so that’s not strictly true. But the thing you need to understand about scones is that the Cornish put the jam on first and the cream on top. Whereas in the county of Devon they put the cream on first and the jam on top of the cream. Getting the order wrong in the wrong county has caused more and bloodier wars than anything else in the history of creation.

Worse than either of these is asking for a cream tea with cream and jam and being given a fruit scone to spread it on. No. No. No. No. Just no. I’d rather have my cream tea on a cheese scone than a fruit one. That’s just WRONG. Fruit scones are just served with butter.

Let’s not get started on the pronunciation of “scone”.

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Thank you so much for your review – it honestly made my whole week to see you engage with Dysfluent’s themes and presentation so earnestly and with such an open mind. I’m extremely happy to hear that my story and design choices resonated with you!
I enjoyed your teaching anecdote as well, and admire the good intentions and introspection that you display. :blush:

In the spirit of the comp I’m trying not to say too much about the inspirations and intent behind my game, but you have such great questions and observations that I’d like to share a bit of background info!

Extra information

I’m sorry to say that every interaction in the game is true to life, haha. It’s not fully autobiographical, however! About 60-70% of events are closely based on things that happened to me personally, and the rest are struggles shared with me by other stutterers. The therapist scene in particular is one that’s not from my own life, but I’ve heard a few different accounts of people who stutter being misunderstood by professionals in the same way.
I’d love to go into a bit more detail about the choice of scenes and their inspirations; maybe I could do a little breakdown in my postmortem!

The question of “what to do” is a very pertinent one, and I intentionally tried to remain a bit vague in-game because I was afraid to paint any one approach as always being the right one. For example, I personally love being asked about my stutter even by people who aren’t close to me, and I even often appreciate folks finishing my sentences. But I know that’s not the case for everyone!

The perceived appropriateness of bringing it up can definitely be very contextual and vary based on relationship, situation, tone and body language, etc. Because of that, in some contexts there may just be no easy ways to dissipate that uncertainty – I imagine it must be tough for a teacher in this position, since the dynamic is so different from talking to a friend and there is indeed always a risk that the question could be taken the wrong way!

The one thing I think can never go wrong, no matter the person or context, is just showing patience and positivity. In my opinion, having that as a base is already incredibly helpful, and any opportunities to provide more direct and involved assistance would just be the cherry on top. It sounds like that’s what you were/are already doing, which is wonderful to hear!

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I saw some other reviewers complain about the extra locations, but I didn’t mind them myself! Gave some realistic body to the museum, and navigation was quick.

(By the way, it’s a very different game, but there was a very nice museum heist game in 2009 called Byzantine Perspective which you might enjoy. :slight_smile: )

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This clears things up!

Since I don’t eat meat, I’ll probably never gain the truly deep appreciation, but I’ve already gotten more of an idea of what it’s like. :smiley:

My local Dutch supermarket sells ‘scones’, but they’re very sweet and there’s raisins in them, and even with the unsweeted clotted cream they also sell (yay), it’s still way sweeter than I like. Ah, for some good British scones… I’m not overall a huge fan of British cuisine, but a good cream tea is glorious. :smiley:

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To Sea in a Sieve by J. J. Guest

To Sea in a Sieve is a prequel to To Hell in a Hamper, J. J. Guest’s 2003 game where you find yourself in a hot air balloon with a crazy person who has brought way too many heavy items. That game was a sequence of puzzles about getting rid of all these objects; because if you don’t, you’re both going to die. The setup of To Sea in a Sieve is… more or less identical, except that this time you’re in a boat, and your companion is a pirate captain who wants to bring all his treasures. I wonder if the character of the pirate captain was inspired by the captain from Ryan Veeder’s game Captain Verdeterre’s Plunder, or whether Veeder and Guest are just both leaning into standard pirate tropes.

I looked up my review of To Hell in a Hamper and found this final paragraph:

My single complaint is that the game doesn’t actually contain that many jokes. It has a good comic setup, and some of the stuff you discover inside Booby’s coat is hilarious; but there are few events or descriptions in the rest of the game that make one laugh or smile. This game would have benefited from having Admiral Jota as a co-author; his gift for stuffing a game full of funny remarks would have been very effective here.

It’s fairly unlikely that J. J. Guest wrote To Sea in a Sieve in reaction this, but there is a sense in which he could have: the main difference between his 2003 game and his 2023 game is that the new one is funnier. The captain is a ridiculous guy, and the interactions between him and his cabin boy are a source of smiles. The lesser of two weevils indeed. It also helps that the implementation of the game is deep, and useless or failed actions often lead to amusing responses.

The puzzles are fairly standard, I would say, tending towards traditional object and NPC manipulation sequences that could have fitted in almost any prototypical adventure game, text or graphical. The ones I enjoyed most where those with relatively ridiculous effects, such as blowing up the barrel, simply because those effects were more particularly suited to this specific game. As a puzzle, the little physics conundrum at the very end was my favourite.

This game is very clear about what it sets out to do and it does that very well. That’s good, but I was a bit surprised that everything played out this straightforwardly. I was hoping for some kind of plot twist, or perspective change, or something that would make the game more surprising, more memorable, and more different from its predecessor. But no, you get exactly what you are told to expect on the tin. Not very fair to complain about that, I suppose, but having recently played J. J. Guest’s intriguing Excalibur, I guess I was hoping for a little bit more.

But when To the Moon in a Minibus arrives, hopefully before 2043, I’ll play it and no doubt with a smile on my face.

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:smile:

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I’m not making it up! It’s announced in the game! I had already made up To Mars in a Mine Cart, but I got both the destination and the vehicle wrong, even though I had guessed the correct initial letter. :smiley:

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The Whisperers by Milo van Mesdag

So here’s a strange autobiographical fact, or at least, a fact that felt strange when I started playing The Whisperers. I once made some plans for an IF in the form of a play. The players would not play any particular role, but would only make choices only at the end of scenes, choices that decided the final outcome. I can’t at the moment remember the title I had in mind (though I suspect I have plot sketches somewhere in a drawer), but I certainly remember the setting: that would have been Russia during the time of the Stalin purges. So… I guess those sketches can remain where they are, because Milo van Mesdag has very much beaten me to it!

Now my game would have been a piece of interactive fiction. Milo’s piece, on the other hand, very much wants to be a play, and one feels that he mostly put it in interactive fiction form because it’s hard to find a theatre group to performs one’s script! This is not to say that it doesn’t work as a piece of IF. But there are certain aspects of The Whisperers, including some of its most intriguing ones, that don’t translate well to the medium in which we currently experience it.

The most obvious of these is the whispering. Most of the characters are whispering most of the time (and should be heard through microphones – not sure if that really works to be honest, but maybe it does). That’s in part because this is Stalinist Moscow, and the secret police is everywhere. But it’s also because they’re all living in the same ‘paper wall’ apartment, where everyone hears everything. And they’re living in that apartment with a member of the secret police. A not insubstantial part of the characterisation is done through voice volume. Sergei speaks up, especially in the beginning, when he’s still a confident young officer of the NKVD. The Guide always speaks at full volume. But most of the other characters do not, or only when they forget themselves.

The main plot is fairly simple, and the choices of the audience don’t make that much difference. Young Agnessa has followed her brother Sergei to Moscow. But she’s not a Stalinist; in fact, she’s a secret Trotskyist who believes that Stalin has betrayed the revolution! She falls in love with the young architect Nikolai, and he with her, and gets pregnant. Her dream is to strike a blow against false ideology, and Agnessa and Nikolai conspire to bomb the foundations of the new Palace of the Soviets. (In reality, this megalomaniac construction project was dismantled and abandoned during WW2.) Depending on the audience’s choices, this may or may not succeed, but either way, they end up getting caught.

There’s a subplot about a middle-aged couple, a Russian man and a Ukrainian woman. The woman’s entire family has starved to death in Holodomor, the famine in Ukraine that Stalin intentionally exacerbated. She has taken to the dangerous practice of icon worshipping. And there’s a very minor subplot about Sergei’s ability to find enough traitors to condemn to death.

It’s all interesting enough, and the underlying research is immaculate. But I’m not entirely sold on the plot or the characters. There’s something nihilistic about it. The three men have all found ways to submit to the state. It’s only the women who dare to have any individuality: Dariya through her religious parctices, and Agnessa through her political action. But surely Dariya’s husband, Georgy, is right when he points out that God will also listen if you don’t endanger yourself with the possession of physical icons. As for Agnessa… in another review, I read the suggestion that we are supposed to empathise with her political ideals. But I don’t believe that. Sure, Trotsky looks pretty good when you compare him to Stalin’s terror and remind yourself of the fact that Stalin had him killed with an axe. But Milo has no doubt very carefully chosen to highlight one particular episode from Trotsky’s thinking in the play: his stance on the 1921 Kronstadt rebellion. In that rebellion against the Bolsheviks, sailors and civilians demanded, and I’m quoting Wikipedia:

reduction in Bolshevik power, newly elected soviets to include socialist and anarchist groups, economic freedom for peasants and workers, dissolution of the bureaucratic governmental organs created during the civil war, and the restoration of civil rights for the working class.

Hard to disagree with, right? Well, not hard for Trotsky, who signed the order to ruthlessly crush this rebellion. About 2000 of the rebels were later executed. So I think it’s clear that we are to understand Agnessa as just as much a blinded ideologue as anyone else in the play; in fact, the most blinded ideologue of them all. And this is underlined strongly by the fact that the terrorist attack she plots with Nikolai is incredibly stupid. I mean, what’s the point? Who is going to benefit from a delay in the construction of this building? It makes no sense! It’s hard not to understand it as the roundabout suicide of an ideologue who is addicted to purity. Really, the only sensible person in the play is Georgy, and his being sensible consists in his being as invisible as possible… which, you know, makes the whole play a pretty cynical thing (or, I suppose, simply realistic, given the actual history). A well-written and highly interesting cynical thing, but still.

Except, that is, for the second intriguing feature that does not translate to the current medium: the ability for the audience to revolt. If you check out the script, you’ll find that the idea is that when the final ‘sentencing’ scene comes along, a ‘plant’ in the audience starts booing and shouting that they don’t want to be bound by the choices given to them (execution of 25 years in prison), and if the audience joins in, the actors are to ‘improvise’ a scene in which everyone goes free. Now that is interesting, and that is not cynical. It’s just… not really in the piece that we have now. This thing really needs to be the play that it wants to be.

Actually, this make me realise that there’s also a way in which I beat Milo to ‘it’. Back in 2005, I wrote a little roleplaying game called Vampires in which you play a male vampire who gets power by abusing his female victims. It’s unrelenting in its bleakness and cynicism. And the whole point was… it was never played, as far as I know, so perhaps I should say… the whole point would have been that the players got so disgusted that they rebelled against the system. (I wrote about that in an accompanying essay.)

But to be honest, I’d rather go to Milo’s play than play my own game!

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