Lifeline: Silent Night is a (very lightly) Christmas-themed sequel to the original Lifeline (though, mercifully, it has no important connection with the disappointing Lifeline 2). In it, Taylor, the gender-nonspecific protagonist of the original game, has gotten into trouble aboard the ship home after the events of Lifeline. (I have always thought of Taylor as female, so I refer to Taylor as she below, but your version of Taylor could well be “he” or “they” if you prefer.) There’s less mystery this time around, because we basically know the parameters of the kind of universe we’re inhabiting. Taylor still spouts pop culture references from Futurama and The Simpsons (and the conversation even lampshades this overtly). There are still long pauses where Taylor is “traveling” or “resting” – perhaps somewhat less plausibly now that she is not on a vast moon but are instead poking around what is described as a small spaceship, and during an emergency.
But Silent Night offers a couple of other tweaks on the formula of the original. There are fairly long stretches of non-interactive text in between choice points – sometimes a page or two of text messages on my iPad, more than I remember from the original Lifeline. This text-to-choice ratio wouldn’t seem that odd in, say, a Choice of Games piece, but it’s more noticeable when the text is formatted as text messages (where we’re used to a rapid back-and-forth) and when it’s printing on a delay.
There are structural changes, too. Taylor is no longer completely on her own. The ship is crewed, and Taylor’s connection renders their dialogue in contrasting colors so that you can see the conversation when we’re around them (which is not very often). These other characters are still out of the way for most of the duration of the game, perhaps because otherwise it’s hard to explain why Taylor would be taking our advice to the exclusion of theirs, and it’s also not quite obvious why we can hear them but they can’t hear or see the advice we’re giving back to Taylor. But we just have to accept that that’s how the communication link works.
Second, Silent Night comes with a schematic map of the ship, allowing you to pause during conversation and check out where Taylor is and what she’s doing. This is kind of cool, from a feelie perspective, and helps sell the idea of the ship as a particular place. I wouldn’t ever say that the map becomes necessary, though, and in fact it frequently felt to me as though it had been awkwardly appended to the game after the script was already complete.
For one thing, the game frequently has Taylor making long trips through solitary corridors. Empty corridors are a staple of television and movie spaceships, certainly; but they don’t appear anywhere on the schematic. On the schematic map, all the rooms are directly connected to one another, wasting no time with intervening space. (I couldn’t help thinking of Coloratura here, which also included feelies but felt like the ship had been rigorously researched and planned.)