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.
I’ve been meaning to catch up with All Hope Abandon for years now: back in 2005 when it came out, it pulled down a number of XYZZY nominations (Best Game, Best Story, Best Setting, Best NPCs, Best Individual Puzzle, Best Individual NPC). It’s one of a handful of religiously-themed IF works reputed not to be especially preachy. Eric Eve is a theologian, and his story starts out with the protagonist listening to a stultifying lecture on the relation of the gospels to one another and to the historical Jesus.
From there, the protagonist experiences an ambiguous health event and moves to a surreal allegorical hell-scape. Hell, when you get there, is in the process of being “demythologized,” thanks to trends in theological scholarship. A demon is taking down the lettering over the gate.
Some of the game incorporates lessons about Biblical scholarship into the gameplay proper. The hell section features, among other things, a puzzle on the methods of criticism used to guess which gospel elements likely came from Jewish tradition or backdated early Christian tradition, and which might reflect historical truth. THINK often provides some genuine insights into the current situation, unusually for IF. And much of the game’s setting concerns a contrast between the old way of understanding spirituality — a landscape of angels and demons and lashing chaotic seas — and a more modern way, which is portrayed as even darker and gloomier, mechanized and full of warfare. (There are also other puzzles that are more standard text adventure fare, like trying to find some ink to refill a pen.)
It’s harder — or at least it was harder for me — to say that there’s a consistent message behind all this. I have various thoughts about this, but they’re pretty spoilery, so I will put them after the break. Continue reading
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:
The Odyssey Jam was an itch.io jam running through March 26 for works based on The Odyssey, drawing ten games, predominantly interactive fiction and visual novel entries. Here are some thoughts on the entries:
islands & witches (Inform) has the player wander a maze of evocative locations from the Odyssey, occasionally collecting items, but mostly drifting from place to place. As the title islands & witches somewhat implies, there’s a focus also on the female characters of the story, many of whom have at least a few lines of dialogue when you encounter them in their various homes.
The air smells of lilies and blood. It is always just past sunset. There is a three-headed dog, spotted like a hyena, lying nearby. A iron double axe-head with dried blood on its blade is sticking out of the rocky ground.
Persephone is still here. All men must come to the realm of the dead one day, but you had hoped to find your way home first, even perhaps to know your name would live glorious beyond you. “How lovely to see you.” Persephone announces, as if to her court. You feel welcomed, perhaps excessively.
Although I did eventually reach Ithaka, I never figured out how to make Penelope pay attention to me, or work out what I should do with much of the game’s inventory, including a beehive and a rosemary branch. (I did make a makeshift torch, but it didn’t seem to matter that much?) So I wasn’t able to finish the game, and I’m not sure if there is a conclusion, or if I left some puzzles unfinished.
For writing and feel, though, this was one of my favorite submissions, and I could see it being expanded and polished if the authors are so inclined. It reminded me a little of Victor Ojuel’s Pilgrimage: large areas contained in a single room description, and vast sea-spanning voyages undertaken in a single move.