Month: October 2019

The Secret of Vegibal Island by Ralf Tauscher (2019)

Posted on by Flack

Tweet Review:

A tribute/parody/homage of/to The Secret of Monkey Island. Fans who loved the original LucasArts game will get all the references and be able to overlook all the grammatical and programming issues. Others may find the game more confusing than the island itself.

Full Review:

While the official goal of The Secret of Vegibal Island is to unravel the mystery of the island, a secondary and personal goal of mine was to determine what exactly a “vegibal” is. My original assumption (that “vegibal” is slang for “vegetable”) was disproved, I think, when I encountered, examined, and ultimately conversed with the vegibal late in the game. The vegibal “reminds you talking to that silly guy at the tiki bar that looked like a tiki bar,” and “carries nothing.” If you had planned to look to the internet for the answer, I’ll warn you up front — Google autocorrects “vegibal” to “vaginal,” so now my Google Image cache is completely pink and I have a meeting with my boss on Monday.

An introductory teaser written by the author references “a famous point-and-click adventure” and “revisiting that island,” and if you needed even more clues, the protagonist’s first name is “Buyshrug” — an anagram of Guybrush (as in Threepwood), the protagonist of The Secret of Monkey Island. This game, The Secret of Vegibal Island, is a little bit tribute and a little bit parody of the original LucasArts game.

The game begins in the “real” world with Buyshrug on the wrong side of a locked gate that leads to a vacation resort. Accessing the gate requires possessing three separate wristbands, obtained by completing three separate tasks. Of the three tasks only one was challenging; fortunately, the game gives enough in-text verb/noun hints to nudge players towards the slightly surreal solution. Moments after I had waltzed through the gate, kicked back in a lounge chair and began sipping on a White Russian, poor Buyshrug was hit in the head by an errant cannonball and woke up a prisoner aboard a pirate ship. Escaping your locked quarters leads to the second half of the game, which involves exploring and ultimately learning the secret of Vegibal Island.

If you aren’t familiar with The Secret of Monkey Island, most of the characters, objects, and jokes in this game will be lost on you. I won’t lie — the last time I played the original Monkey Island, I had to reconfigure my AUTOEXEC.BAT and CONFIG.SYS files to free up conventional RAM so my sound card and CD-ROM drive would work at the same time. If it’s been that long for you and random references to bananas, manatees, and leather jackets don’t elicit an immediate chuckle, this isn’t your game. Many characters such as the Voodoo Lady and the three-headed monkey from the original Monkey Island series make appearances here, and some scenes (like the giant gorilla head puzzle) are lifted directly from The Secret of Monkey Island and transcribed into parser format.

Because I haven’t played the original in so long, there were a lot of objects I wasn’t sure what to do with and a few puzzles I left unsolved. Toward the end of the game I had 35 objects in my inventory, two-thirds of which I never used (including, among other things, thirteen large pigs). Along the way I encountered multiple things that seemed like puzzles, but didn’t seem to affect the outcome of the game. Because the game has no score, it was impossible for me to tell how many tasks I left unaccomplished.

It is obvious that English is not the author’s first language, so there’s no sense in beating up the game’s bountiful grammatical quirks. Some of the text is so awkward that it feels like it was translated using automated tools, except there are so many misspelled words that I am pretty sure it was done manually. None of this makes the game or puzzles unplayable, but several times I was unsure what exactly the author was trying to convey.

Along those same lines, the underlying game engine only performs the bare minimum when it comes to logic and error checking. Default parser rules prevent you from eating lounge chairs or picking up people, but I was able to pick up a filled waterbed mattress and store it in my backpack (along with a dozen pigs). Gamers who stick to the intended script may or may not encounter such oddities, but advanced (or simply curious) players will quickly be able to manipulate the laws of physics in ways that don’t make sense.

The Secret of Vegibal Island is a fun little homage to The Secret of Monkey Island, with additional references to Disney (and at least one SCUMMVM joke that made me laugh) thrown in for good measure. The game’s estimated two-hour play time includes solving every single puzzle; those looking to blast through the game and discover the secret of both Vegibal and Monkey Islands in the shortest amount of time possible should be able to do so in less than an hour.

Link: The Secret of Vegibal Island

Meeting Robb Sherwin by Jizaboz (2019)

Posted on by Flack

Tweet Review:

A parser-based slice-of-life game in which players assume the role of the author (Jizaboz) and attend Robb Sherwin’s wedding. Throughout the weekend, players will explore bits of downtown Denver, spend time at a hipster draft house, and hang out with… me?

Full Review:

Of all the experiences I’ve had in 40 years of playing text-based games, perhaps the most jarring was stumbling across a digital recreation of myself inside one of those games. To be clear, I don’t mean simply discovering a character that reminded me of myself; no, I mean literally encountering my name and physical description inside this game.

Meeting Robb Sherwin is a “slice-of-life” adventure. For those unfamiliar with that particular flavor of game, allow me to explain. Forty years ago, early text adventures offered very little narrative and were instead content with presenting players a series of puzzles which, when solved, would save them from (an often excruciating) death. Over time, text adventures evolved and matured into interactive fiction — text-based games with deeper stories that seamlessly mixed the art of fiction writing with more narrative-driven puzzles.

Meeting Robb Sherwin is neither of those things. Instead it is a digital recreation of a specific event — Robb Sherwin’s wedding — which took place in Denver, Colorado on June 30, 2017. Sherwin invited a couple hundred personal and online friends to join him that weekend. This game is a retelling (or perhaps more accurately, a reliving) of that event through the eyes of the author.

In the game, players assume the role of Jizaboz, one of Robb Sherwin’s friends who attended the wedding. Throughout the game, players will retrace the author’s steps by seeing the same sites, visiting the same places, and experiencing the same things he experienced in Denver. That weekend, Jizaboz traveled from the airport to La Quinta, made a purchase at a local cannabis shop, had a few drinks at a “Hipster Draft House,” and eventually attended Sherwin’s wedding. Those who successfully complete the game will do those same things in the same order. It is not designed to allow players to skip locations, because that’s not the way things happened. Unlike many works of interactive fiction, the author’s goal was not to offer players total freedom of choice; in fact, the exact opposite is true. For the most part, the game offers a single path from beginning to end, corralling players into replaying the events exactly how the author experienced them that weekend.

In real life, I encountered Jizaboz twice that Denver weekend: once at the draft house, and again the following day at Sherwin’s wedding. In the game, you (as Jizaboz) will encounter me in those same two locations. While you’re chatting with Flack (er, me) inside the draft house, Robb Sherwin will arrive, just as he did that afternoon. Later, on the day of the wedding, Jizaboz introduces himself to Jason Scott. Other characters Jizaboz encountered that weekend also make appearances — the tattooed woman working the desk at La Quinta, the clerk at the cannabis store, the young man who sat behind us at the wedding, and the mysterious guest who stole a piece of wedding cake before the ceremony ended all have cameos.

Because the game is a recreation of actual events, by design, it doesn’t feel (at least at first) that there is much room for experimentation. Don’t expect to object during the vows, or skip the event altogether and go skiing instead. That being said, not everything in the game is on rails, and certain situations can be manipulated just enough to change history. For example, with a few poor choices it is even possible to make poor Jizaboz miss the wedding. By sticking to the narrative (at times game tells you exactly what to type in order to progress) the game is easy enough to coast through, but there’s definitely a little room for exploration during multiple playthroughs.

Which brings me to the elephant in the room — who exactly is the target audience for Meeting Robb Sherwin? Perhaps being so close to the source material, my initial instinct was that only those who know Jizaboz or Robb Sherwin would truly appreciate this game, but after a few days of gameplay, I’ve expanded the potential audience. The slice-of-life genre was new to me, but definitely has a following. Not everyone enjoys the sprawling worlds and mind-bending puzzles presented in many parser-based games. Those just dipping their toes into parser games or not interested in a week-long gaming session will enjoy a smaller and more linear game such as Meeting Robb Sherwin. Plus, you know, you get to meet Robb Sherwin.

(And me!)

Link: Meeting Robb Sherwin

Enceladus by Robb Sherwin (2019)

Posted on by Bryan B

The Little Ugly, Evil Guy On My Shoulder’s Verdict:

So this ship has a lady captain on the rebound (death rebounds totally count!) and a female crewmember whose primary interest is drinking vast amounts of alcohol yet Ja’Rod still can’t get laid. He has no game whatsoever. Varick would be deeply, deeply ashamed. I’m ashamed too, so much so that my new name for this guy from here on out is Ja’Rodless.

The Little Nice, Handsome Guy On My Shoulder’s Verdict:

I personally feel that Wikipedia continues to be an example of the very best the Internet has to offer. While I didn’t enjoy the aspersions cast on the finest online encyclopedia known to man and robotkind alike, I did enjoy the rest of the game, especially the bouncy tunes!

My Verdict:

I’m no mathematician, but space plus werewolf plus hot sauce plus Robb Sherwin equals fun squared, baby! Or an extremely disgusting porn flick.

Game Information

Game Type: Hugo

Author Info: Robb Sherwin is the guy I originally started this website with back in 1999, one of the best IF writers of his generation, and surrogate father to all the demented denizens of Jolt Country.

Download Link: https://ifcomp.org/play/2045/download

Other Games By This Author: Chicks Dig Jerks, A Crimson Spring, Necrotic Drift, Cryptozookeeper, and many more!

I’ve been trying to put my finger on what makes this game feel a little different from all previous Robb Sherwin games. The best I can come up with is it’s a matter of luminosity. Enceladus doesn’t shy away from depicting evil, but it isn’t encompassed by darkness. In the past, I think Robb has often used his writing as a way of exorcising personal demons, and the result of that has been darkly funny games that are like nothing else in the world of IF. In this game, it feels like Robb is using his writing to accomplish a slightly different goal: sharing joy. The result is a light, funny game that is like nothing else in the world of IF. My guess is we haven’t seen the last of Dark Robb, but Enceladus should expose his work to a whole new audience who might not have been able to handle the darkness of some of his previous works. That’s a good thing!

For newcomers to Robb’s IF work, this game is a fun, accessible space adventure that will serve as a great introduction. You play the role of Ensign Ja’Rod Butler, crewmember aboard the starship Plagoo which is currently traveling in outer space near Enceladus, one of Saturn’s many moons. Everything is going well except for the fact that a werewolf has boarded the ship and is killing people. The werewolf is probably the most Sherwinian thing in this game, but the explanation is that the werewolf is the result of an elective genetic engineering procedure. In other words, he is a highly modified human being. That makes sense. I mean — let’s face it — that’s the sort of thing that’s definitely going to happen in the future. Some people will do the werewolf procedure in order to become better criminals like the one in the game, some people will do it because Teen Wolf is their favorite movie, and some people will do it because they’ve always felt like they were werewolves on the inside. The point is they will definitely be doing it so Enceladus is giving us a glance into our futures which is exactly what science fiction is supposed to do. The battle against the werewolf (who, it turns out, isn’t really the mastermind here) will ultimately continue on the surface of Enceladus, a frozen wasteland best known for hosting the only hot sauce bar this side of the galaxy.

For those of us who have played Robb Sherwin games before, we will inevitably come into this one armed with a certain set of expectations. These expectations might vary a bit depending on which game is your favorite, but, personally, I expect a Robb game to take place in a dystopian world or at least an environment where justice is in short supply, to feature numerous bursts of virtuoso writing, to be hilarious, and to be populated by a host of fascinating and weird characters. Enceladus is very funny, well-written, and features some interesting and quirky characters, but it also feels a little restrained compared to some of Robb’s other games in keeping with the lighter atmosphere. If we were talking about music, we’d say Robb’s latest release was a little tighter and less experimental than his previous work. That’s not necessarily a bad thing; in fact, I found it refreshing. We want artists to keep trying new things, especially when the results are good as they are here. Plus, “a little restrained” in this case still leaves room for a character as over the top as the thong-wearing Finnian, a case of near death by hot sauce, and the aforementioned werewolf. I also wouldn’t say the world of Enceladus is dystopian. Even though the crew of the Plagoo face danger in the harsh reaches of outer space, most notably because people are trying to kill them, the game environment never feels entirely unpleasant or hostile. Admittedly, Grimes might disagree with that assessment for good reason. Even so, this still feels like a game world where the AIDS Archer may well have hung up his bow long ago, where having pets is still a perfectly legal activity, and where Varick still works 9 to 5 because he hasn’t been driven to raid the last resting places of the dead by sheer economic necessity.

Enceladus does a nice job depicting the chain of command and job specialization on a well-run starship. As Ja’Rod, you are not the head honcho. Like everyone else on the ship, you have a job to do; in your case, you use your special X-ray glasses to scan nearby locations for DANGER. Like everyone else, you answer to the captain. Not doing your job and not following orders can get you and the rest of the crew killed. At the same time, you are given the creative freedom needed to problem solve and can speak freely without fear of retribution. This is an efficient outfit that clearly works well together. Linus Torvalds and Jeff Bezos could probably learn a lot about leadership from the unnamed but badass and utterly competent captain in this game. As a general rule, I like being in charge whether in an adventure game or in real life, but Enceladus does a great job of making you feel like your role is important even when you’re not the one giving the orders. All space games tend to remind me of Red Dwarf to a degree, and mentally I did classify Ja’Rod as Dave Lister in an alternative universe. Like Ja’Rod, Lister isn’t an insubordinate man by nature, and he would likely have served a capable commander with perfect rectitude. Ja’Rod probably wouldn’t have amounted to much if he had to work under Rimmer either, but placed in a positive work environment such as aboard the Plagoo he has everything he needs to shine.

Robb Sherwin remains a big believer in the potential of multimedia to enhance interactive fiction. In this game, there are just a couple of graphics that you see when you start the game and visit the about section, but there’s music throughout the game. In the past, I haven’t always been a big believer in the use of music in text adventures. I kind of like having text adventures be a silent, almost meditative experience, and it can be difficult to find music that truly complements a game. I even felt that way playing Cryptozookeeper at times because it felt like the music was doing its own thing, largely independent of the action in the game, and sometimes it actually distracted me from the job at hand. In Enceladus, however, the music perfectly complements the game and each song seems to match the scene it is featured in very well. Rather than serving as a distraction, it actually reinforces the mood set by the text. Robb has proven with this game that music truly can add something to the text adventure playing experience just as it does in other types of games. The loud red background color also seems to fit the game very well. Most importantly, it reminds me of AGT so it gets some bonus points based on that alone.

I served as a beta tester towards the tail end of this game’s development, and I’m very pleased with how everything turned out all in all. Some bugs needed to be squashed and typos eliminated along the way, but it’s a downright smooth and almost flawless playing experience now as long as you type all the same things I do. If you run into the text, “I aren’t in anything at the moment,” in the mine, I’m very sorry and have no idea why I only noticed that after the comp version had already been released. Finding a way to get Alexandra safe and sound and inside the airlock proved to be one of the most serious game development challenges. It’s much less confusing now than it used to be, but it’s still a little odd that Alexandra is listed as being present Before the Airlock and also said to be inside the airlock at the same time. Oh well, nobody likes a pedant. Apart from those small quibbles, the game works great now and I’m very happy to have played a very small role in getting it into its present form.

For better or for worse, Enceladus is a comp game through and through. It’s short and easy enough for just about anyone to finish. In practice, this means that the game ends very soon after it reaches its crescendo. You play through the best part, and then it’s just…over. I definitely found myself wishing there was more adventure to be had and that I could spend some more time with my crewmates, but at the same time I know authors can struggle to find the perfect length for a comp game so it’s perfectly understandable why Robb would want to keep it short. Even though Enceladus is about as straightforward as interactive fiction can be, there are probably a few people who still will have a hard time finishing it. I imagine any hardcore Twine fans who crossed over to play this game likely needed to ice their fingers after every few typed commands so that two hour comp game time limit really can be reached more easily than one might imagine. When I give out my numeric ratings, I’m mentally comparing a game to all the interactive fiction I’ve ever played even though that’s probably not fair. This can make it difficult for a short game to get a great score from me, but I really had to think a while about what rating I should give this game. You could consider Enceladus to be about as good as short and simple IF can be. It really is among the best of its kind, and I’m not sure a better game was entered into Comp ’19 — if one does exist, I definitely haven’t played it yet. At the same time, I still prefer my IF to be lengthier and a little more challenging. Be that as it may, the annual IF competition is all about celebrating short form IF, and Enceladus is fantastic short form IF so I’m expecting it to do very well.

Lastly, the fact that I have now reviewed two games in a row that both featured Enceladus has to be about the weirdest thing to have happened in the history of this site. Yeah, it’s even weirder than having all three of the original Trotting Krips review Pass the Banana. I had absolutely no idea Robb was working on an Enceladus-themed game until I’d already started writing my review of Saturn’s Child. What this all means I have no idea, but I think I can state with more authority than anyone else that Enceladus is the best Enceladus-themed text adventure there is. Admittedly, Saturn’s Child did feature an awesome space birth scene (though in my opinion it would have been better if the baby had been named after Jim Bexley Speed), but Enceladus is pretty much superior in all other respects. So, if you can just play one Enceladus game, make it this one!

Simple Rating: 7/10

Complicated Rating: 34/50

Story: 7/10

Writing: 8/10

Playability: 8/10 (Whoever beta tested this game did a fantastic job!)

Puzzle Quality: 4/10 (It’s not that the puzzles are bad per se; it’s just it’s pretty much always bleeding obvious what you should do next so it’s not very challenging.)

Parser Responsiveness: 7/10

Special Ratings For This Game:

Looks Like AGT: 8/10 (Color is good!)

 

The House on Sycamore Lane by Paul Michael Winters (2019)

Posted on by Flack

Tweet Review:

If you can get past the typos, scarce descriptions, and programming glitches, there’s a fun mystery to be solved within The House on Sycamore Lane. The game is unpolished and rough around the edges, but delivers a rewarding payoff for those willing to wade through its issues.

Full Review:

I was six years old when my father brought home our family’s first home computer, a TRS-80 Model III. One of the first games I ever played on that computer was Haunted House, a text adventure written by Robert Arnstein and published by Radio Shack in 1979. Forty years later, Paul Michael Winters wrote his own haunted house text adventure, The House on Sycamore Lane, and submitted it to the 2019 Interactive Fiction Competition.

Like 1979’s Haunted House, the goal of The House on Sycamore Lane is to enter (and subsequently escape) the titular house. After entering the house, players will need to free the spirit that haunts Sycamore Lane before ultimately freeing themselves. Following an opening sequence that takes place outside a middle school, players are quickly funneled (and promptly trapped) inside the Sycamore house through one of two entrances. From that point on, the majority of the game is spent exploring the spooky old house while solving simple puzzles, most of which involve acquiring objects within rooms and using them to complete tasks in other rooms.

The game’s first puzzle, in which players must unlock their own bike lock, is less about knowing the combination to the lock and more about knowing the combination of words needed to unlock the lock. Unfortunately, this was not the only puzzle where I knew what I wanted to do, but couldn’t figure out how to convey it to the game. Later, inside the house, I got stuck standing underneath a latch in the ceiling with a hook in one hand and some twine in the other. I prefer parser games to graphical “choose your own adventure” point-and-click games and appreciate the level of work that goes into programming them, but there’s a fine line between delivering freedom and frustration.

The sparse descriptions give The House on Sycamore Lane an old-school text adventure vibe. Examining your dirt bike reveals “it is your trusty dirt bike.” A pair of pliers found are “rusty, but functional.” There are no humorous descriptions or long passages of narrative to distract you from the tasks at hand. Most objects are described using only a few words, while room descriptions max out with a few sentences. In this text only medium, descriptions are where moods are set and mental images are painted, and I felt the game would have been more effective with more vivid descriptions. Authors often use item descriptions to provide depth to a story, an opportunity lost here.

Most fans of interactive fiction enjoy reading, which makes them particularly skilled at spotting typos. Unfortunately, this game is filled with them, which gives it an unpolished feel. I tried to overlook the way the game uses “your/you’re” and “its/it’s” interchangeably, but was driven bonkers by a “peperoni stick,” which literally stumped me until I realized the game was requiring me to misspell the object to pick it up. For any text adventure, but specifically one submitted to a competition, a bit of proofreading would give it a more professional look.

With all that said, at the core of The House on Sycamore Lane lies an entertaining little ghost story. As players move throughout the mansion searching for keys to unlock doors and such, certain objects, when acquired, trigger brief flashbacks. Over time, the story behind who has been haunting the house on Sycamore Lane (and why) is revealed — and, more importantly, a way to free the tortured spirit also becomes clear. It’s unfortunate that this story isn’t teased earlier in the game, as it’s definitely interesting. If I were to rework the game, I would either drop the opening subplot involving the middle school bully, or — even better — find a way to tie it into the overall theme of the game, creating a bit more cohesion. A couple of paragraphs at the beginning setting the tone and hinting at what is to come might also help set the mood. The actual story, which is the most compelling part of the game, is simply buried a bit too deep.

I’m not particularly adept at text adventures and it only took me about half an hour to work my way through The House on Sycamore Lane. There are a finite number of rooms within the house, so everywhere I turned I found objects looking for a puzzle to solve, or puzzles awaiting a solution. I don’t think at any point I ran out of places to go or wondered what I should be doing next, and I like that in a game of this scale. The size of the house was appropriate, with lots of rooms to explore and secrets to discover.

The House on Sycamore Lane isn’t terrible. There’s a fun mystery to be discovered by players willing to stick with the game long enough to find it. Interactive fiction games require interesting concepts along with polished writing. Paul Michael Winters has the former part down, and I would love to play another game by him with a bit more attention spent on the latter.

Link: The House on Sycamore Lane