IF Comp is now over for the year! Here are a few recommendations for different audiences, depending on what you’re looking for.
If you want serious story:
Bogeyman (hypertext) is a story of children who have been taken away by the eponymous character as punishment for behaving badly. It’s a little simplistic to describe it as horror, because this is less a work about fear and more a work about moral queasiness, complicity, and responses to abusive power. It made me feel vaguely ill a good portion of the time — but despite how that might sound, this is a recommendation.
Dead Man’s Fiesta (hypertext, on the dynamic fiction end of the spectrum) is the story of the after-effects of grief.
If you want evocative, illustrated story:
Ürs is an illustrated hypertext piece about a rabbit who has to learn to manipulate the technology of the ancients in order to save their warren. The art is really good: beautiful, stylish illustrations for every location that manage to communicate the functionality of the technology, the wonder of the setting, and the viewpoint of the rabbit (along with a little Watership Down flavor) all at once. It’s very mildly puzzle-y in a way that I think most people will find easy to solve, but that component gives the story a bit of body and some agency for the player.
If you want playful story:
Re: Dragon (hypertext/fake email interface, executed with Inform and Vorple). Though framed as a meta-piece about the IF Competition, the piece swiftly becomes a charming and well implemented comedic fantasy. This game included some of my favorite turns of phrase in the competition. There is a cocktail recipe that looks pretty good, frankly, though you might have to omit the unicorn sparkles.
If you want something reminiscent of a Choose Your Own Adventure or gamebook:
Within a Circle of Water and Sand is an attractively illustrated story of a Polynesian girl who has undertaken an adulthood ritual that requires her to visit other islands. The setting is unusual for IF — Aotearoa is vaguely reminiscent but is told from the point of view of a white visitor, for instance. Structurally, this is a bit of a gauntlet: there are many ways to die suddenly and relatively few ways to manage the final ordeal, and you’ll likely need to replay several times in order to build the necessary understanding of the world. There’s a lot of text between choice points, as well — but as you replay, you’ll likely stop reading those closely and move towards a more mechanical traversal.
If you like a story/puzzle balance:
Alias ‘The Magpie’ (parser-based) sees you playing a gentleman thief infiltrating a manor to acquire a priceless artifact. It’s Wodehouse-y farce with one ridiculous scenario piling on another, complete with implausible disguises and unreasonable excuses. As a nice bonus, it comes with stylish virtual feelies and a map of the estate you need to rob. The game does depict mental illness in a pretty unrealistic way for comedic effect; if this is a concern for you, that’s something to be aware of.
Erstwhile (hypertext) is a murder mystery in which you’re trying to solve the question of your own death, from beyond the grave. As you explore the testimony of the suspects, you’ll build up an inventory of clues and topics, which you can link together to discover new evidence.
If you’re interested most of all in the texture of language and interactive poetry:
Tohu wa Bohu is both puzzleless and storyless, a piece that explores particular ways of thinking and states of mind. Built in Texture, it asks the player to pay close attention to the individual words, and to changing words as a representation of changing thought. Very formally experimental.
If you mainly want puzzles:
Junior Arithmancer is your bet for mathematical puzzling. None of the mathematical operations are more difficult than you’d see in a pre-algebra course — there’s some square root-taking, and that’s about it — but some of the challenges require a bit of thought in how you string the operations together. Written by Mike Spivey, who contributed last year’s excellent A Beauty Cold and Austere.
Ailihphilia is a workout for fans of palindrome-based wordplay. It’s the work of prolific wordplay game creator Andrew Schultz, so if you’re already familiar with his work, you’ll probably have a good sense of whether you’ll enjoy it.
Temple of Shorgil, meanwhile, is an Arthur DiBianca game — this too is becoming something of a brand. DiBianca’s work often has a very light fiction wrapper, gameplay that relies on 2-5 core verbs, with brainteasers around maths, timing, sequencing, and understanding symbolic references. The Temple of Shorgil’s premise is that you’re exploring an ancient temple full of tricky puzzles, as ancient temples always are in Indiana Jones/Infidel-style fiction. Wall paintings and snippets of legend provide additional clues. This was a bit smaller and more focused in design than DiBianca’s earlier comp game Inside the Facility, but both games involve exploring a gridded map in quite a systematic way.
If you’re a fan of superheroes with silly powers:
The Origin of Madame Time (parser-based) is a sequel to last year’s The Owl Consults: there are a bunch of characters with strange powers, but they’ve all been frozen in time, and you need to rush around dealing with a crisis-in-progress, sometimes drawing on the abilities of these characters in various ways. Solidly constructed, not terribly difficult.
If you’re really feeling it being 2018:
There were several games in this comp (Bi Lines, A Woman’s Choice, Ostrich, Careless Talk) that in some way or other address currents of incipient fascism, government oppression, the possibility of fighting back, and the treatment of women at the hands of men. I didn’t play all of these, but we did play Ostrich in the London IF Meetup; I think that was an ideal context to experience. The satirical aspects were broad, but that played pretty well in a group experience.