Over on RockPaperShotgun, I talk about five games (of seventy-nine) that I thought were particularly strong this year. If you’d like to play comp games and rate them, you’ve still got until November 15 — and with so many games in the mix, judges are extremely welcome.
IF Comp is on, and you have another month or so to play and rate the games. This year’s selection of games is properly enormous — a record-breaking 79 entries. (The ceiling used to be in the region of 50, so this is a big jump.) That collection includes a rich selection of parser and choice-based games in many different styles; reappearances by some established authors alongside plenty of new names; and three translations of Chinese interactive fiction, which I think may be a first for the Comp. I see lots of fantasy, horror, and SF as well as slice-of-life; not as much mystery as there are in some years.
If you want a look, here are some resources for you:
The Short Game podcast provides an introduction to the competition, including explaining what the competition is for people who aren’t familiar with it at all.
This post breaks down the games by genre and play style, while this subforum at the intfiction forum has discussion threads for many of the individual games.
Some blogs running reviews wind up on Planet-IF. This thread also allows people to link to their own reviews.
This year, the Comp allows judges not only to leave ratings but to add a few lines of feedback to the author. That’s a nice option if you have something private to say or don’t want to write a full review — authors very much value getting responses to their work — though please remember to be polite and constructive, and mind the guidelines for judges.
Balefires Burning is a Twine story about a girl nearing the age of initiation in a village that practices witchcraft. She is in love with a young man who, though not a blood relative, is off-limits for other reasons of clan tradition. The text (as shown) is formatted like poetry, which initially felt a bit self-important, especially when I encountered dialogue arranged that way. This put me off the first time I tried the piece.
On a second try, I got used to the format as I read, and came to see it as representing the narrator’s ritual-inflected perspective on the world, where everything that happens is keyed into traditional practices and calendars. Meanwhile, the writing also accomplishes quite a bit else with its space — communicating the protagonist’s problem, introducing half a dozen or so additional characters, getting us familiar with the setting, suggesting the natural beauty of this world.
The piece feels very influenced by young adult genre fiction (and I notice the game is tagged as “teen fiction”). I found myself wishing for just a bit more edge to the fantasy in a couple of respects.
Not Quite a Sunset describes itself as a hypertext opera, a research project into allowing the player to influence how the music changes and evolves, together with the plot of a story. I had a weird time with it, and I’ll describe what that experience was, but I’m not sure the results deserve to be called an actual review.
I am not an expert in music, and post-Wagner opera I would identify as particularly a weak point of mine: I’ve seen Akhnaten in person, heard a little other Glass here and there, and that’s about it. I don’t feel equipped to comment on the form of the opera, nor about how interactivity might affect that form.
What I can say, in my musically uninformed way, is that the music in this game had a primacy that soundtracks usually do not. Individual instruments stand out. There is an articulate quality to the tune. The game’s blurb describes it as “a story with a soundtrack,” but what I experienced from it was very much not that; soundtracks fade to the back, supporting. What I experienced was a musical piece sufficiently interesting that I had a hard time concentrating simultaneously on the longish blocks of science fiction that accompany the opening.
Looking at a couple more Spring Thing games: this time, it’s Ted Strikes Back and Enlightened Master.
Ted Strikes Back is a sequel to Anssi Räisänen’s Ted Paladin and the Case of the Abandoned House, which I reviewed when it was in the 2011 IF Comp. The conceit is that the protagonist is aware of being the hero of a text adventure, and must struggle with the resulting constraints. In Ted Strikes Back, some of Ted’s verbs have been stolen from him, which leads to exchanges like so:
> open wardrobe
The verb ‘open’ is not in your vocabulary.
Flabbergasted, you stare at the error message above. You certainly do know the verb ‘open’. What has
The puzzles, in other words, are about how to deal with situations that could only arise in the context of a text adventure.
This is definitely a piece aimed at parser IF fans who’ve been around since the rec.arts.int-fiction days. It responds to XYZZY; it features an old-fashioned maze with a trick solution; it jokes about parser game surrealism in a way that’s likely to make the most sense if you played For a Change (Dan Schmidt, 1999), So Far (Andrew Plotkin, 1996), or some of the other lesser-known works that borrowed the same ideas. I also ran into easter egg references to Christminster (Gareth Rees, 1995) and The Meteor, The Stone, and A Long Glass of Sherbet (Graham Nelson, 1996), and I suspect there’s probably more of that kind of reference to be found.
Spring Thing 2017 is now launched, with fifteen Main Festival entries and seven Back Garden items, including Twine, ink, Inform, Quest, Texture, ALAN, and Squiffy works. I haven’t been through nearly all of them yet, of course, but here are thoughts on two: Bobby and Bonnie and Niney.
Bobby and Bonnie is a parser IF game with a couple of rabbit protagonists, illustrated with map and compass to help you follow along: