What Lies Beneath The Clock Tower (Margaret Killjoy)

What Lies Beneath The Clock TowerWhat Lies Beneath The Clock Tower: Being An Adventure Of Your Own Choosing is a choice-based steampunk story. “As a novel, this isn’t a novel,” writes Jim Eaton, its reviewer at fantasybookreview; and while I tend not to bother arguing labels like “novel” and “game”, I think it’s fair to say that it doesn’t present a number of features that I might ordinarily expect from a genre fantasy novel. The plot(s) are deeply odd, the protagonist hard to know and hard to relate to, the emotional scope a bit dry, the setting too whimsical ever to develop fully. During perhaps my first hour with the book, I would also have said it was not particularly successful as CYOA, full of false starts and arbitrary endings. But I’ve backed off that view a bit: I came to like it better by the time I was done mapping the story, and had had a chance to work out that it’s activist satire with a comedy steampunk gloss.

It begins with a passage about your character that would be verbose but not otherwise out of place in response to an >INVENTORY command:

At the beginning of this tale you are wearing a fashionable, if cheap, suit—complete with black wool overcoat and starched-felt bowler. You have a pocket watch on a chain. But this is no ordinary pocket watch; this pocket watch has been over-wound and is in need of repair. Your wallet is empty of money; they seem to have taken it all at the bar. In one hand you bear a simple, bronze-headed cane of stained wood, born as an affectation. In your trousers pocket you have a silver ring that you won in a game of chance, a ring you were hoping to give your lover. And, of course, you would not leave your room without an ample supply of intoxicants, which may be found in various flasks and bottles upon your person.

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Spoken IF: Codename Cygnus, Multi Path Audio, Mayday: Deep Space

cygnusCodename Cygnus is interactive radio drama: there are voice-acted scenes with music and sound effects. The premise is that you’re a secret agent, and you can download several missions; each mission is itself divided into smallish episodes, so when you start something, you’re not committed to a long session. It’s highly genre-determined, trope-y stuff, where you’re meeting bad guys with foreign accents across a gaming table, or slipping truth serum into someone’s drink.

Periodically the narrator asks you which of two options you’d like to pursue in order to continue your mission, with specific keywords for you to speak (“Athletic? Or Clever?”). You can either speak the next word or tap the option on-screen, but the system is designed so that you can play entirely hands-free, without holding or looking at your device. As with Choice of Games titles, your actions may determine character stats rather than causing immediate narrative branching; and in fact in Codename Cygnus a lot of your choices (“Athletic / Clever?” “Hostile / Charismatic?”) are explicitly asking which of your stats you want to use and enhance. Because you’re not viewing the text, the screen consists purely of a stats readout, plus controls to scrub or replay audio sections you’re currently listening to. It’s simple but attractive.

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Choice of Robots (Choice of Games)

Robots

Choice of Robots is a recent large-scale Choice of Games piece: you take the role of a gifted young graduate student in robotics, about to make significant breakthroughs in your field, generating a line of robots that might become surgeons, soldiers, companions, factory workers. Your choices include design decisions for the robots and business decisions about how to manufacture and sell them, but also personal decisions about how to relate to your robot creations, and what you think it all means. The scope of your activities is such that you may find yourself flying to Shanghai to take meetings, or spending months in a military jail, or preventing the invasion of Taiwan — and along the way it’s pretty likely that you’ll also make a considerable personal fortune, which you can choose to spend on luxuries, philanthropy, or a mix of things.

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Choice: Texas (Carly Kocurek, Allyson Whipple, Grace Jennings); The Spare Set (Rob Sherman)

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Choice: Texas is a game about options for women in Texas who are facing unwanted or problematic pregnancies. It’s carefully researched and non-generic: there’s lots of information about costs, complications that apply to different situations, the rules for open and closed adoptions, the legal requirements that determine access to abortion, and quite a bit else.

There are five different protagonists, each with her own unique and branchy tale: a Hispanic mother who already has three children, a career-oriented black woman who faces a loss of opportunities at work if she stays pregnant, a teenager whose parents are anything but supportive, a victim of sexual assault, and a woman whose planned and longed-for pregnancy has turned up serious fetal abnormalities. Some of these characters have loving partners and good health care options. Some don’t, so much.

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Life’s Lottery (Kim Newman)

Screen Shot 2014-11-21 at 4.13.07 PMI mentioned Life’s Lottery a few times in my article on Nicholas Bourbaki’s If. Like If, Life’s Lottery is predominantly a novel rather than predominantly a game; it too concerns the many possible directions a life can take.

Life’s Lottery is an older piece, first published in 1999; it tells the story of a young man growing up in southern Britain. The details of his life chime with stories I hear from my in-laws: the critical importance of the Eleven-Plus exam in deciding which school you’ll be tracked into, Doctor Who on television, decisions about O-levels and colleges and universities, the Falklands war and the ascent of Thatcher.

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A(s)century (Austin Walker)

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A(s)century is a cyberpunk Twine piece about a dystopian future in which the line between corporation and government has been wholly erased, and your job (at least initially) consists of writing ghastly corporatese copy for various advertising purposes. It’s dark satire — often very dark, with companies that offer tourist services to view the end of a species going extinct, and “therapeutic services” where people can donate to pretend to themselves that they’re doing something to help the world, even though their donations do nothing and mean nothing. Workers are interchangeable and disposable, the line between human and AI gradually erased. Creative workers are referred to as “crates” and are treated about as well as that naming might imply.

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