Wolfbiter reviews IFComp 2023 (latest: finished with reviews, wrap-up thoughts)

Fix Your Mother’s Printer by Geoffrey Golden

TLDR: Short relationship study where you help your mom troubleshoot her printer.

Gamemechanical notes: No parsing. Player choices don’t really affect outcomes.

[ + ]

  • The dialogue for my mother (yes, she’s my mother now) was so good. Absolutely pitch perfect. Love the way she lowkey negs me for recommending a fancy printer, etc. etc. Suspect the author may have called my mother for research.

  • Cute animation-style visuals that really add to the mood. Love the little shuffle my mom makes every time she has to touch the printer.

  • Isn’t it funny how something that’s tedious in real life (troubleshooting printer) can be pleasant, soothing even, in the frictionless environment of fiction?

[ Δ ]

  • This is minor but I really wanted to see a topiary! Reward me by showing me a page from my mother’s painstakingly designed hedge ppt!

  • [about the plot[ I would have liked a bit more on the relationships. Given the genre I didn’t really expect the player character to significantly change their relationships over the course of the game but I would have like a bit more grist there.


The Whale’s Keeper by Ben Parzybok

TLDR: Atmospheric story where you simultaneously explore your existence (b/c amnesia) and a whale.

Gamemechanical notes: Multiple endings. Has timed text (I think there’s a “speed up” setting but I didn’t try it). I played the web version, not the Telegram version. Although it’s formatted as a parser (ie, you type things in an input field and press enter) all of the available options are stated in the text. I assume the reason it’s not “click on the text you want” is to enable the aforementioned Telegram mode. Undo is available.

[ + ]

  • very vivid, descriptive writing. “warm cantaloupe” is just the beginning! I also very much enjoyed the description of being one more cell in the organism of the whale as it was diving and compressing everything

  • we don’t get much, but I enjoyed the little bits we get about the player character’s backstory

  • I enjoyed the sort of “take an atmospheric wander around an uncanny environment” feeling, the selection of available tasks etc. was creative and interesting.

[ Δ ]

  • [about the plot] I think there’s multiple endings, but I was mildly annoyed that the ending I “got” was not at all what I was trying to get by taking that action. E.g., once I chose to try to leave the whale and swim away, even if it killed me, and that time I still ended up back in the whale, which the text informed me I felt happy about?

Thanks very much for the review, @wolfbiter !


Escape your psychosis! by Georg Buchrucker

TLDR: A short, educational game about living with psychosis.

Gamemechanical notes: Game occurs in a pdf with hyperlinked pages. (One of the hyperlinks actually went to the wrong page, but this was quite easy to recover from manually since, it’s a pdf.) A few different “endings” but also a loop.

[ + ]

  • I do feel I learned something about what it might be like to have psychosis, and how to interact supportively with other people who are experiencing psychosis. I was perfectly happy to play through the entire way

  • It made me think a bit, for example, about the stereotype that psychotic people are violent—even if I believed my neighbors were surveilling me my response would probably not be violence

  • I admire the earnestness with which the author approached this topic

  • the art added to the experience. The art style was what I associate with recent memoir-style “serious topic” comics. Although actually I played for a while before I engaged with the art because I didn’t realize the art on the right-hand page was supposed to accompany the text on the left-hand page. (The things I selflessly admit in the name of critical integrity.)

[ Δ ]

  • I was a bit uncomfortable with the seeming implication that everyone with psychosis will reach the same “ending” eventually / the ending seemed to “flatten” the various options.


TLDR: A romp wherein we fight nominative determinism. And lose. Close to a perfect implementation of this concept; although the concept may not be for everyone.

Gamemechanical notes: No parsing. Multiple endings. Easy undo, which you’ll probably want.

[ + ]

  • extremely funny. Had some incredibly good lines. Also a great sense of absurd humor (E.g., there’s a moment where your character has JUST resolved to give the benefit of the doubt to everyone . . . cue the arrival of time-travelling Hitler )

  • nicely pacey, has good momentum.

  • fun sound design that adds to the experience (ka-THUNK. ka-THUNK)

  • all of the endings and descriptive text are very engaging and funny. A rare game where I found that I wanted to exhaust every path (and some of the ridiculous choices here lead to equally ridiculous, yet unexpected, outcomes). The “undo” feature makes this kind of exploration low-cost

  • I quite liked the “main” ending! Even a happy ending for our robot pals! Who I was sincerely relieved I was not asked to zap into the void!

[ Δ ]

  • although overall I thought the pacing was quite good, it felt slightly draggy once Fanny showed up—when the “Act 2” banner dropped I felt some distinct “oh no.” I’m not sure if that’s b/c I wanted it to be slightly shorter or if it was a structural issue.

Who Iced Mayor McFreeze? by Damon L. Wakes

TLDR: You’re a noir detective in a world where everyone is made of candy (a lot of other things are also made of candy? but some things are made of metal? or petroleum products? I’m overthinking it) and a few puzzles stand in the way of solving your case. This game is about the puzzles and atmosphere, the mystery will solve itself.

Gamemechanical notes: Parser based. From my single playthrough I had the impression that the player choices don’t really affect the “ending” except that you must solve the puzzles to progress, but see E. Joyce’s comment below: it sounds like how many clues you find affects the ending. In my playthrough, the ending was just the player character going to confront the perpetrator and explain the solution, so not sure how the others vary.

[ + ]

  • Good set-up and pacing, things got rolling fast. Two minutes in and the mayor is dead and you have until 9 AM to escape a building set for demolition (although based on the description when you check the time I do not think you can actually lose by waiting until 9 AM) . The game is focused on delivering a some puzzles, and light mystery, in a streamlined fashion doesn’t bog down with anything else

  • I really enjoyed the setting and its fusion of absurd candy-elements with noir. Lots of fun details–the incessant rain hitting your car is . . . melted caramel. You can taste the mayor’s corpse. Also if you x your shoes the game will tell you “there’s no gum on them, stop asking” ). It was pretty fun just to experience the setting.

[ Δ ]

  • I wanted to give a Hercule Poirot speech! I mean, the player character gives one, but I wanted to be involved. The mystery is the one thing I figured out!

  • I struggled with the puzzles. Fortunately, there are hints / a walkthrough, so it wasn’t frustrating. I’m also not particularly good at puzzles. (Although in a few places I felt I was pushed away from the correct answer / the solutions weren’t in my physics intuition—for example, I tried to enter the office by (1) kicking down the office door, which didn’t work, and then (2) breaking the office window, and was told it was unbreakable. The combination of those moved me away from the idea of physically breaking into the office and made me think my character wasn’t very physically strong. So I was surprised when the solution was to pick up a very heavy object and throw it through the door.)


Dysfluent by Allyson Gray

TLDR: Effectively sketched slice-of-life about living with a stutter.

Gamemechanical notes: No parsing, no significant character choices, one ending. All of the text that I recall seeing was timed text.

[ + ]

  • I definitely felt I learned more about what it would be like to have a stutter. The player character was an attentive observer and offered a lot of details that I’d never thought about–for example, the player character has a sense before they try to talk of which dialogue options would be harder or easier to say, and describes physical sensations associated with being “blocked.”

  • Well written—the scenarios were realistic, nuanced, and compelling. The interactions ring true to life.

  • I enjoyed the achievements, including the dark humor element that several are for negative experiences (e.g., “Get Hung Up On,” etc. ).

[ Δ ]

  • ahhh, the timed text. I’m guessing it was it was used intentionally to create a feeling of frustration etc. in the player in harmony with the player character’s frustration with their speech issues. I’m not a big fan of deliberately making the player experience worse. I found that I was just tabbing into my next browser tab if it seemed like it was going to be a long wait (flashbacks had a particularly long delay), which I’m sure was bad for my immersion.

There actually are multiple endings depending on how many of the clues you find!


Oh, interesting, let me see if I can edit that line.


Thank you for kindly taking the time to play and review Dysfluent – it’s great to read your notes and thoughts!

I’m very glad you enjoyed some aspects of the game, and I’m sorry that the timed text ended up being too intrusive!
I’m definitely taking note of all the feedback so I can hopefully improve the implementation in a future release.

Thanks again for sharing, and I’m happy to hear it was an informative experience. :blush:


I had the same question about whether there was a better ending—curious to see if anyone managed one.

For point 6, the door option actually wouldn’t progress for me at all. (Emailed the author in case it’s a bug.)


Yes! I am keeping my eyes out in case anyone found a better ending because I am also curious!

1 Like

Meritocracy by Ronynn

TLDR: An intense college student spends a day talking with people about logical fallacies and meritocracy.

Gamemechanical notes: Choice based. I only played through once, but had the impression there was only one path. A few times you have multiple conversational options (frequently you have only one option) but I didn’t think any of them were going to really shift the outcome.

[ + ]

  • the player character is very distinctly drawn, which I generally like

  • Where two NPCs disagree on meritocracy, they both raised a variety of arguments to support their views (one side of the argument wasn’t presented as being obviously weaker), which I think must be more challenging for an author to achieve than just supporting their preferred side

  • there are a few funny elements like when the player character thinks they are in a philosophy class but has accidentally attended a different class, or when the player character is moved by enthusiasm to declaim a speech from atop a desk

[ Δ ]

  • I found the player character, with their laser focus on the external appearance / trappings of Serious Academia, exhausting to inhabit. (Sample narration: “You are here, on this immense and splendid campus, where the edifices of science and art rise majestically above the verdant lawns and flower beds, where the pathways of knowledge and culture wind gracefully among the ancient trees and statues, where the fountains of wisdom and beauty sparkle in the sunlight.”)

  • I didn’t feel the content of the game matched the description. According to the description, “you must debate with your professor on the nature of merit” and “Engage in a battle of wits and see if you have what it takes to come out on top.” This made me expect that interaction with the professor would be framed as a debate, that the player would select among different arguments to attempt to persuade the professor, etc. Instead most of the game was reading long passages of the professor or other characters speaking. The player character does respond but it’s more “short prompt to get the professor to say more” or “providing an example to show I have understood the professor’s lesson” than a debate. There was a lot of reading monologues from the professor, other characters, or the player character’s internal monologue


The Long Kill by James Blair

[The player has the option to play as a sniper, a spotter, or a civilian. This review is about the sniper path, which is the only one I played.]

TLDR: A tense and engaging yet thoughtful game about a few key days in the life of a guy who has been a son, a soldier with coalition forces in Afghanistan, and a veteran returning to civilian life.

Gamemechanical notes: Choice based. Multiple endings, player choices affect the endings. Also, a lot of the choices affect how the rest of the game proceeds, even if not changing the ultimate ending. There is an undo button.

[ + ]

  • Highly gripping and engaging

  • Very well written, the writing is very effective in clearly conveying what is happening while also revealing how the player character thinks and setting a general mood. I’m not sure if “sensitively written” is exactly the phrase I want, but I felt that the author had thought deeply about the themes involved. The game was. . . considered.

  • This is definitely not a piece that glorifies war or offers an uncomplicated “every one of us is good, every one of them is bad” viewpoint. That said, it’s also a game closely focused on one character and what that character thinks/experiences, not geopolitics etc.

  • I thought the treatment of sniping as a game element was really effective:

  1. In the beginning, the game teaches the player to do a few basic calculations to adjust for wind. (These scenes also convey character work, backstory, etc., which kept the plot moving nicely.) I know nothing about this subject matter but people generally like learning things and it kept me interested / engaged.

  2. Then in the next step, the player is asked to apply these skills (or not) to carrying out a mission on behalf of coalition forces in Afghanistan.

  3. Finally, the player is asked to apply these skills (or not) to improving the marksmanship of the Taliban insurgents holding the player character captive. This last one in particular I thought was a great way to create conflicted feelings in the player, and that effect is heightened by asking the player do a little bit of work rather than just clicking “cooperate” or “refuse to cooperate.” It helped put the player in the player character’s position of “I am being asked to use these skills that I have learned to _____.” I just thought it was a very smart marriage of the game elements and the plot elements.

  • There’s a walkthrough available that might be worth a look even if you feel you completed all of the content—it contains some of the author’s thoughts and intent on the various options.

[ Δ ]

  • I didn’t totally understand the ending I got until I read the walkthrough. In the ending I got, the player character goes hiking alone, walks to the edge of a cliff, throws his phone over, and the game ends. (It read as ambiguous to me if the player character was also considering suicide.) Reading the walkthrough, the author describes this as a “turning your back on the world” ending, and you get it if you have (1) not reconciled with your childhood friend (slash possible love interest?) and (2) your spotter buddy is dead. [I also didn’t realize until that moment reading the walkthrough that my spotter buddy was dead, perhaps it was stated but I missed it]. I think a bit more in-game explanation / hints about what the player character was thinking in that scene would have helped me understand it without the walkthrough. Separately, while that ending was sad, I didn’t go back to try to either reconcile with my childhood friend or not get my spotter buddy killed because the choices I made were emotionally true to my understanding of the player character! This is my manifesto, etc etc.

Thank you very much @wolfbiter, for your time and kind words but in particular your signposting of some tweaks I can make to elevate this piece.

If it helps, for me, your read on the ending you received is very much valid (and first in my mind among the possibilities that ending might hint at). When I update for further publishing after the comp I’ll be now looking for a way to gently reinforce those plot points you mentioned above.

Thanks once more, it means a great deal! :slightly_smiling_face:

1 Like

Shanidar, Safe Return by Cecilia Dougherty
[Note, it’s stated that this game is a sequel, but I haven’t played the original. This game also took me considerably less than an hour.]

TLDR: A series of brief, naturalistic sequences in the life of early hominids (neatherthals, cro-magnons, and denisovians).

Gamemechanical notes: Choice based. Choices don’t seem to direct the plot or change the ending, but do determine which scenes you view. Although the game looks at first glance to be download only, the download is actually a pdf with a link to a website, and in fact, on the website seems to be the only way to play it.

[ + ]

  • The author seems to have done meticulous research on the time period, which enriched the game with specific details about plants and geology. This helped create a clear sense of setting. The art, also done by the author, and featuring a lot of plant illustrations, etc., was also very well done.

  • Interesting speculation about possible stone age rituals and cultural practices. It definitely raised a lot of questions in my mind (“I wonder if neanderthals had the language to communicate a concept like ‘I had a vision that people 40,000 years in the future are flying.’”) and I did some googling about denisovians afterwards.

  • The narration is mostly in simple, declarative sentences, which is an interesting way of putting the player in the mindset of the characters

[ Δ ]

  • I lost track of the characters and think I occasionally missed important plot because I had selected to view a scene that moved too far ahead.

  • I’m not sure I understand the case for presenting this as IF instead of in a different format. Other than clicking to advance, the player doesn’t have anything to do. The scenes are from different POVs so the format doesn’t seem to particularly be encouraging identification of the player with a player character. This would make, for example, a beautiful book with illustrations and different sequences on different pages.


The Finders Commission by Deborah Sherwood

TLDR: A light heist game that carefully channels you through stealing a priceless Egyptian artifact.

Gamemechanical notes: Choice-based, the focus is on the puzzles. The puzzles are gentle, the game is hard to lose, and there is an “undo” button. I only played once but it seemed like there was a single main ending (with fun achievements based on your run). I noticed one minor gameplay issue–after you acquire a box, you can navigate to the box in your inventory and interact with it. There’s 3 options: interact, return to inventory, and continue. At one point I think I clicked “continue” instead of “return to inventory” and that seemed to disappear the box from the game. I was easily able to use undo to get it back, but I would suggest using the “return to inventory” option when you’re done with the box. ETA: sounds like this issue may be fixed! (see dsherwood’s comment below)

[ + ]

  • I always enjoy a good heist! We’ve got an objective, we’ve got obstacles, we must sneak around, it’s a fun time!

  • I enjoyed wandering around the exhibit space and seeing the other exhibits. The other locations mentioned (other than the exhibit space) also gave the world feel lived in.

  • The puzzles were very well written to channel the player through completing them all successfully. For me this was in that sweet spot where I never felt stuck and I was always getting just enough information to continue. This was a fun sort of “you are a competent thief and you will make everything work” power fantasy, and it must be hard to get that just right as an author.

[ Δ ]

  • The focus is definitely on the puzzles rather than plot or characterization. I would have enjoyed more interaction with my supposed police-inspector nemesis.

  • There was a character selection page at the beginning, but I’m not sure how much it changed the gameplay. If the character selection did affect the gameplay it might be fun to make that more visible to the player. (Also, all of the characters are described positively, different flavors of “this person is competent.” It would have added some spice if the options also had notable flaws / obstacles! Where’s the finder who’s physically strong but has wrecked her relationships with every important person in the art world? Or the finder who is good at hacking but has a crippling fear of enclosed spaces? Etc etc)

The game doesn’t ship with hints so here are a few in case they benefit anyone. In increasing order of helpfulness:

Walk around the space more than once and try interacting with things at different times. Some of the NPCs seem to move around and do different things.

Assuming you have interacted with everything and gotten the key items:

  1. The keypad code is for exiting through the employee entrance.

more about that:You don’t directly have to do anything with the code? And least I didn’t.

  1. The box is for turning off the alarm on the display case.

more about that: you do have to use it and pair it to “ISIS” ETA: sounds like the word you have to pair it to is procedurally generated for each game (cool!) (see dsherwood’s comment below). I think it was written on the case but don’t fully recall

  1. The cylinder is for unlocking the display case.

more about that: To unlock the display case, go to the cylinder in your inventory and interact with it (you can click on the numbers displayed on the cylinder to interact).
even more about that: It’s a code found in the list in the email, matched to the code for the aegis (which I think is written on the case?) The code tells you which numbers to interact with and it sounds like is procedurally generated each game. For example, my code was written: L10 R35 L40 . . . which meant first interact with the number 10 and turn left, then interact with the number 35 and turn right, then interact with the number 40 and turn left. If you interact with the wrong stuff for a while after a few attempts you will hear a sound that indicates the lock has reset, so try again then.


Thank you for playing and the kind review! The box does seem to be an issue that I thought I had corrected. I will be looking at that again.
FYI - the pairing, key code and alarm lock combination are all randomly generated so they will be different for every game.



Thank you for writing, it was a fun game! Re: the box, it may have been corrected later, it takes me a bit to get from the “played” to “reviewed” stage.

In The Details by M.A. Shannon

TLDR: Short, energetic game—you’re a pop idol preparing for a show, but an old debt is coming due . . .

Gamemechanical notes: No parsing. Multiple endings, which will require you to restart at the beginning to experience.

[ + ]

  • I’m a big fan of games where the player character has a distinct personality, and here you do: you’re self-centered, arrogant, not very smart, and have bad impulse control. I love it!

  • Great concept, has a lot of inherent drama and tension

  • I enjoyed the fantastically gory death descriptions

[ Δ ]

  • It’s very short. Exploring every option took maybe 15 minutes. (for the record, the options are: go onstage without your supernatural talents, embarrass yourself, game ends; or die entertainingly after annoying the devil ). The ending felt abrupt, I would have liked to see more of the potential of the premise explored, more complications, more conflict, etc etc