Monstr (Laura Michet, Kent Sutherland, Meagan Trott, Emily So, Travis Ford DeCastro, Rachel Sala, and Rosstin Murphy) is a game in which you’re searching for the dating profile of a monster you saw at a bus stop. It’s made up primarily of spoof profiles and then short “chat” scripts that go horribly badly until you find the one monster who is right for you.
As far as I can tell, it’s largely a matter of luck when you will stumble on the correct monster, and the chats with wrong monsters usually go wrong because the protagonist is scripted to say something foolish or horrible. So it’s easy to build up a sense of the PC as a somewhat-awful being before you get through to a win condition.
On the other hand, the dating site satire is fun and some of the monsters seem rather sweet.
Wonderland is a new audio IF game by veteran IF developer Jim Munroe. It’s a mystery puzzle centered on Munroe’s own neighborhood in Toronto, and it has a hangman-like mechanic of puzzles where you can unlock additional letters by walking around with your phone.
I’ve been enjoying it, as far as I’ve gotten — though I haven’t finished yet. I think this game would be ideal for someone who spent a lot of time on rambling strolls. Right now, that’s not really me: Oxford is pretty drippy and forbidding this time of year, so most of my exercise happens indoors. But the game has a pleasant radio drama quality and the voice acting is well done.
(Disclosure: I received a free copy of this game.)
One Button Travel (The Coding Monkeys) is a Lifeline-genre game: you’re engaged in CYOA chat with one other character, and there are real-time delays spacing out your conversation. The app is skinned with a somewhat retro, Device 6-esque design.
Unlike Lifeline, its rather less successful sequel Lifeline 2, and its free-to-play imitator Timecrest, One Button Travel invents a premise in which, instead of aiding a mysterious stranger, you’re the person in danger (at least initially). Your correspondent is trying to assist you, though assisting you quickly involves them getting into trouble as well. They’re also able just occasionally to send you messages with photographs inside, which the Lifelines did not attempt.
So I was well-disposed when I started the game. However, the timing elements are really frustrating. There are a lot of pauses that run for 30-120 seconds, as far as I could tell. (I’m estimating: I didn’t keep a stopwatch on these.) Maybe the delays are meant to add to the realism of the situation, but they really annoyed me. They broke up the narrative just long enough that I put my iPad down and went to do something else, only to be interrupted with a notification just as I was settling into a different task — meaning that to make any significant progress on the game, I had to let this game fragment my attention and keep me from getting anything else done, even though it itself wasn’t keeping me continuously engaged. And it wasn’t necessarily signaled when my interlocutor was going to be gone for two minutes and when they were going to be gone for hours. Sometimes when I did respond to the notification, the result was another page of texts without any further choices for me to make at the end of it, so there was functionally no reason (other than perhaps a long-ago eroded sense of suspense?) not to have given me those additional messages right away.
Meanwhile, after the initial hook, I found myself increasingly detached from the story itself. Some of this is because that bitty, occasional level of interaction made it hard for me to connect. Some is because the world-building is so implausible — you are “helping” someone escape through, among other things, a really bizarre system of automated laundry handling that sounds like it was designed to be an amusement park ride. Some is down to lack of agency: it wasn’t until I’d been playing for something like a week of real time that I encountered a choice where it felt like that choice might have caused a significantly different outcome than if I’d picked the other option.
Anyway, I’m declaring bankruptcy on this one. I haven’t finished it, and I don’t plan to: it’s not giving me enough in exchange for my time.
(Disclosure: I played a copy of this game that I bought with my own money.)