Reviews by Andrew Schultz
Neo Twiny Jam
View this member's profileShowing All | Show by Page
The author wrote two vignettes for Neo Twiny Jam, and although A Crown of Ash was a more evocative title, The Real Me lasted with me a bit longer. It's a story of a fairy who's a trans man, but it cuts a bit more about that, to the general "being a bit different and people know it" to having even people who think they understand failing to understand. They see you as part of a block. This happens with any sort of nonconformism e.g. "I really respect nerds' work ethic. But maybe I could use their brains better!"
Having a fairy as the main character was interesting for me because, well, isn't it cool enough to be a fairy and have magic powers? You should be grateful for that. But of course that's not the whole story. The whole story can't and shouldn't be told in 500 words. But enough is captured of the whole "can you be less weird, please?" sentiment that rapidly spills over into scorn, or imagined scorn that nobody every really tried to curb, that the piece was successful for me.
Neo Twiny Jam was a good time to explore and try things quickly, without going into the weeds. And many authors did, often exploring different themes of identity when submitting more than one entry, or trying for different forms of drama.
But Life of Puck and What They Don't Know, may be the pair of entries by the same author that differs most. It's a tribute to the author's pet rat. Rats, like most pets, don't have too much to do, and the author mentions they wrote this to figure out Twine.
It seems like an excellent choice of a self-tutorial, and technically it covers all the bases. Presentation isn't something I generally care much about, but the soft colors and fonts give a homey feel and add to the fun. It reminded me of an idea I had for a Twine game, about two cats I had. (Maybe next year for Neo Twiny Jam.) I'm sure someone else has a dog story. I hope they share it, to help us through the more serious entries.
There are five total endings, though they're not endings in the normal sense. You just have a new day. There are just moments when you've realized you've exhausted one action more or less, and you don't find that there are five until you choose the "take a break" option. I'd found three by the time I had, and at that point, I was able to remember what I hadn't really tried.
You get no special alert when you hit all five, but then again, pet rats aren't particularly goal-oriented. And it doesn't really feel like lawnmowering, just exploring. Also, looping over the same options several times with the same text doesn't feel repetitive, because rats generally don't worry about that sort of thing (okay. They can memorize their ways through a maze. But that's different.)
I'd feel kind of worried if even a pet rat got loose. But here it's a nice game without any real stress. You get out of the cage that is your daily routine as a human, find the five endings, and go back in that cage yourself once you've had an adventure, so to speak.
metastasis shows that retro or bare-bones feel, a fixed-width font as you describe things clinically, the cursor slowly moving left to right, dispersing scientific information. You're obviously in the sort of laboratory where emoticons are frowned on.
And once you see the choices available, well, there is nothing to smile at--if you read the first passage carefully, you'll note something disturbing at the end. The choices belie the sterility of the lab setting. Riots are mentioned. There's shelter for the lab.
COVID was "inspiration" for a lot of Twine efforts, most of which deal with social isolation head-on. It's a bit more subtle here, in the lab, trying things out, maybe making some progress. You hope. There are four endings, none directly stating what happens, with some easier to figure out than otheres. A couple, I had to repeat to fully get it, and they made more sense once I saw all four. There are not that many choices to make. I slowly pieced things together. Once I did, I realized maybe I could have guessed fully, from the title and the blurb. But watching things unfold would still have been effective.
Not that everything could unfold, with only 500 words to work with for Neo Twiny Jam. A lot of details are left unexplored, but that actually makes the horror greater. Sort of like how COVID was even scarier when we didn't know what it was about, and while we read about mutations and how it lingers, there's a feeling of "oh no I better not go out so much," but we aren't blindsided. Still, three years on, we feel lucky this didn't happen, and we remember it as a real possibility.
Further credit to the author for allowing us to press the space button to bypass the typed-text-on-screen effect, so we could experience the remaining paths at our own speed.
Neo Twiny Jam inspired quite a few entries where protagonists interacted with pets, or where you were an animal. It's not hard to see why--you weren't going to get suckered by detail. It's excusable to use one word instead of a full sentence to describe what you want to do. Oh, and you probably get automatic "cute points." Even without the appealing cover art.
Frog feels like it doesn't rely on said "cute points," which is very good. It quite simply follows the progress of a frog from egg to maturity. There is confusion, and there are roadbumps. The ending was very nice, and you may say "oh, I've seen this before," but for me, it works. There are forces beyond your control that decide whether or not you make it to adulthood.
There are worries about forced charm in an entry like this once we see the picture. If there was any, which I doubt, I am glad I am suckered by it. It was all quite clean and fun and a reminder to be decent to those who are a bit confused.
This was a nice first effort and a reminder not to worry if something you want to write is maybe too light or silly a subject to work. It's yet another Neo Twiny Jam entry that might be trying too hard if it went over 500 words, but it sticks the landing at its current size.
At the start this just looks like another story about meeting a shade rowing a boat on a river. The river and the shade's identity will be obvious to anyone with a passing knowledge of mythology. Yes, it looks like you've died, and there's not much left, except the entrance/exit interview.
It's something the ferryman has clearly done a lot of, playing Death's good cop, letting you know your possessions don't really matter any more where you are going, and that's really okay. There are two pretty clear paths here. I found the path of resistance clever.
You see, you can keep asking "What?" This causes a number to go up on the screen. That number is, in fact, the ferryman's word count. He has a certain plan to small-talk you into submission, and it usually works, and in fact the direct "it can't be me, this can't be happening" approach is shut down quickly. There's the whole cliched bit about seeing the light, and so forth. It's been heard and done before.
But playing dumb and making him speak eventually makes him mad. You start with four candles, and each hundred words the ferryman speaks wipes one out. This plays along nicely with the concept of a 500-word jam, but it still falls within its bounds, since the conversation can cycle. (It's okay to reuse words/passages.)
The small talk on the boat reminded me of when I'd heard small talk that ostensibly was to put me at ease but really it was to stop me thinking, hey, wait, something's off here. And it is, if you pay attention and poke around. You may need several cycles through. The third solution, between meekly accepting your fate and getting zapped by the ferryman, is clever and satisfying.
It also raised a ton of questions for me. Was the ferryman just bored of their job? How did they feel about the people they helped across?
and how death is inevitable, etc. You don't seem to have much choice in the matter. Or do you? There are a couple of clues that may help you figure what is going on, or after a few times poking around randomly, you may figure out the mechanics. Either way, the third ending is rewarding, and you will feel accomplishment at finding it. I'm not spoiling it!
This was the sort of neat puzzle I'd originally hoped to see in Neo Twiny Jam. It took a while to uncover, and in the meantime there was other writing I found and enjoyed. It would be hard to recreate in a parser setting, which might give too many red herrings with standard verbs, and it also plays quite nicely on the jam's theme. So, well done to the author.
THJ is a short reflection on what it means to be happy, or at least to try to be. Of course there are people who will pontificate "don't search for happiness, search for fulfillment/service/enlightenment, etc." These people are tiresome if they do it too often, especially when you are really asking for ways to help certain things make you feel less unhappy. But on the flip side, grabbing it doesn't work. I mean, we don't like it when other people are clingy around us. Not even if we're the mean sort of people who laugh at others for being too clingy. But all the same, we do want to go reach out and find it and save it when we can for a rainy day.
It's hard to capture how fleeting happiness can be, and in this, the two main characters place a happy thought in a jar a day, to take it out when necessary. But when is it necessary? When do we realize we were happy? I know too often I've been captivated by someone who is clever with dialogue, but they were just selling the sizzle and not the steak. And yet -- happiness is that undefinable sizzle. And this shows through in the writing, as small arguments become big ones. You click through to see more text, and it's never clear where the next thing to click will be. Again, chasing happiness, thinking you've pinned it down, and it changes. Until it doesn't and you realize there's no more happiness to chase.
I found this quite an effective way of grasping something that seems obvious when you're five but is confusing now. It's clearly much sadder than SpongeBob trying to explain fun to Plankton, but it does search for things and acknowledge others do, too. And it highlights pitfalls to happiness without pointing the finger at you for falling into ones you should have avoided. It reminded me of the times I wrote something down and was thrilled to, then I worried it might lose excitement to read it too soon, or too late. Nevertheless, the arguments the characters had reminded me of times I was happier than I thought I was and times I convinced myself I was happy when I wasn't. I enjoyed the perspective.
CotC dropped very late in Neo Twiny Jam. On the heels of One Word Warlock and Curse of the Bat's Tomb and Tiny Barbarian's Big Adventure, I wondered just how complex the maze would be! Would there be RPG stats, even?
I'd guessed wrong, though. CotC is certainly sophisticated, but it's more about nuance and emotion and fear and need to escape than anything else. You are, in fact, a sword. You have some sort of sentience. You need to find the right person who will wield you to get out or, as the tagline says, ... better luck next century.
You have some control of the human that takes you, and apparently there's some luck defeating the guard(s) involved. The text is more focused on you worries about getting out and building tension than the directions.
The big question is what happens once you're free from your pedestal. The game's mood quickly establishes there is no easy happy ending. Well, for the character. As a player, it was satisfying, but I don't want to spoil it. Even if you're able to guess, it's worth playing through. The author clearly spent a lot of time on high production values, which paid off. This left it more memorable and worth a replay than a lot of the mood pieces I looked at and, yes, enjoyed as well.
I'm probably never going to have anything I waited a century for. But I know what it's like to wait for something and maybe grab it too quickly. Heck, I remember that one year I forgot about free Slurpees on July 11th until July 12th! (I got them next year.) I took time to think of all this and more, after I failed a few times. Then, I succeeded.
One might even picture the author thinking something similar about creating their game for Neo Twiny Jam. Was this a good idea? The last NTJ was eight years ago. Is there enough here to make a splash? Am I taking on too much? I don't want to have to wait eight more years. (Yes, the jam coordinators want to make this a yearly thing. Yes, that'd still be a while to wait, though I hope people who just missed the deadline are ready ASAP if/when it starts next year.) I'm glad they got it right in one try. Or maybe they tried once a week to write something until they finally got something good, and it slipped in under the wire.
I still have a pile of the author's games from recent Twine jams to look through and hopefully review if I have anything constructive to say about them. It's one of those things--I'm worried about just being a bad matchup as a reader, and yet, I also know that the potentially bad matchups that work out are what really help flip a switch to say aha, I see this or that, now.
The core of Sweetpea for me was waiting for an unreliable parent and also finding creative ways to avoid tackling problems head-on, because some are tough to face as a kid (or as an adult.) You should just go down to the door and let your father in, but you emotionally can't. You're distracted by other stuff.
There's also more than a suggestion of alcoholism, but there are no waving bottles of booze, and it's likely better that way. And the waiting is quite tense and good, looking around your mansion for good memories from your young life with your father. Everything seems off. Even trying to open the window is a chore. Along the way, someone or something called Michael is described. They are important.
I found myself doubting whether or not the father would actually improve. What is clear is that he means to, and it is not trivial. And it reminded me of adults who failed to improve, with various degrees of ability or motivation to, and I remember feeling like Sweetpea, that they would figure this adult stuff out, even if they were not extra-super-brilliant. They don't. Well, we don't.
I found the imaginary-friend bits quite emotionally realistic as even though I'm too old for imaginary friends, I still picture someone faceless dishing out general guidelines on how Things Must Be, or what would writer X or Y that I like say about the situation? Oh, of course they can't help me, and they don't know, but the distraction helps me cope.
I had some small issues at first with what seemed like a loop, but I assume that's just to capture a child's hesitancy to go forward with what really matters and instead latch on to a safe choice that might avoid conflict, so that worked. The key is to note that you'll have a choice if there is a horizontal-rule break.
I've read through twice and noticed a lot of clues I missed the first time through. I'm still not quite sure how much of the end is Sweetpea's imagination. Sadly, even after something like the end, some people who mean to do better can't keep it up. But I enjoyed the descriptions of waiting and delay and procrastination that were well above "life sucks, why do anything." A few of them hit home for me, ones probably much happier for Sweetpea than her father, who probably didn't know how much certain small things had done for her, who may not have been trying to do anything nice, but it left a small memory for her. We should all strive to capitalize on memories like this, and in this case, it's not clear how happy the memories really are for Sweetpea as she searches through the mansion to do anything but face her father, but they are better than what she has.
This is one of those "something's up" games. I hope to avoid spoilers in the review proper, but you are in a car, and there is, as the title suggests, a collision up ahead. You have many things to try, but not much works in six turns. Still, you get to restart pretty easily. So it is just a matter of lawnmowering, right? There are only so many options!
The descriptions are purposefully odd, with two-word sentences that work well for who you are and the constraints of Neo Twiny Jam. There are optional sound effects and, rather neatly, options for French or English text. While the last may not strictly speaking add value, it could be a useful learning tool that's far more interesting than, say, asking Arnaud or Francois where the bathrooms are or what time it is.
It's not the first helplessness simulator and won't be the last, but it's unique. Some not-quite-full spoilers ahead: (Spoiler - click to show)the cover art is a big clue, and it may've helped me guess what was going on in-game, though it (rightly) didn't clue the way through.
Of course, viruses have been a big thing since 2020, what with COVID. It almost made us forget those other viruses that sprang up back in 2000--computer viruses! I guess the term malware is used now, as a more overarching term for "bad stuff people can do to your computer without you knowing it."
But virus is still a term. And here the author plays on it. You, as Dr. Sam Cure (unless you want to change your name, which is a nice touch,) have a choice between defusing a biological and computer virus. The original Twiny Jam had a 300 word limit, so I guess both of these games would've fit in there.
There are a few branches, and if you pick the wrong one you get gaffled by the FBI or IRS (the computer virus is a tax-fraud scheme,) or worse. There were some sudden deaths and all, but this being a 500-word jam, there wasn't much to recover, and we couldn't expect a detailed response.
Besides, the cheery colorful cartoon pictures (even the one where law enforcement is frowning) make up for it immediately. I didn't notice this right away, because my internet was slow, but once they started popping up, I tracked back around to the insta-deaths to see them all. You can do this with no problem in a short game!
There is one puzzle, figuring out the password for the computer, because computer conspiracies and passwords of course go together. It's of the "it's in the game text somewhere, and all the other words aren't particularly highlighted" type. But that is okay. Not every Neo Twiny Jam entry provides deep social commentary here. In fact, it might become exhausting. TUV advertises a good time, and it gives one.
This is a story about the last night of a closed mall before it is demolished. You sneak in, hoping to find memories. It’s well done, with the sound manipulated at a critical point.
I haven’t visited a mall in ages but I am sad to read of ones I liked closing down. I remember thinking when I grew up I would go to one of those big malls and eventually buy one item from each store, except maybe the jewelry and such. But when I grew up I generally had favorite bargain outlets or waited for the day after Thanksgiving or Christmas to pick up sales.
Adults would moan how malls got rid of forests or parks or whatever when I was young, and these days I'm sort of mourning the loss of malls and food courts and such, even though I never spent much there and appreciate when bike paths or nature areas are set aside. Malls seem so impractical, but of course we can't drown in those memories.
YCSHF captures that and in a different way from Jim Aikin’s super-long The Only Possible Prom Dress, which also takes place after-hours in a mall, but it celebrates the oddities of malls with all sorts of odd stores with jokes. Here the limited word count here leaves plenty of mystery and reminds me of how malls got smaller, or they started having empty storefronts. And yet I'd still love to explore more of this abandoned mall. Both works got me to thinking of franchises I saw in all sorts of malls and went bankrupt. I finally Googled a few of them.
The Neo Twiny Jam and its word limit were good for mood pieces where, dang it, you don't have to explain yourself, and it would feel wrong to, and it'd go over the word count anyway. So it provoked a number of fun entries where, well, a variety of main characters couldn't explain themselves!
In the case of Scale, you're a fish in a tank which isn’t very big. Not much happens, allegedly. But it’s surprisingly absorbing. There are the typical things you find in a tank, like a rock, or bubbles, and you get fed every night, with seasons turning at an alarming rate. There’s also a chest you may be lucky enough to see open. It took me a while, and I’m not sure if it was out of skill or luck or just persistence.
There’s some nice humor in here. It’s slightly surreal and yet feels like you expect a goldfish-pet’s life would feel. I was sort of worried I would die, so I kept playing, and it says something that I kept playing for a while that I looked at the source. It's one of those works you remember with a smile. The lack of (meaningful) agency charmed me and never felt oppressive.
It was disturbing to take a step back and realize my own leisure could be described similarly: "you go to the library/athletic center/store/tinker around at your computer." But I still enjoyed the experience.
This is a short Twine about someone who receives what feels (to me) like an inappropriate, random gift and being quite confused about it.
I think a lot is left to the reader’s interpretation, because the choices you took the first time are crossed out, which I realize is nontrivial Twine coding, whether branches at any one page lead to the same next page or somewhere different. And different information is given on different passages through.
I think we've all gotten gifts in the mail we find hard to throw out. We understand it's a business and a bunch of emotional manipulation going on. But there's something odd when it comes from a person--especially a person whom we didn't like much. If it's appropriate--well, how did they know so much about us? If it's inappropriate--well, can't we give them credit for trying? The whole thing reminds me of the South Park episode where the food pantry gets a lot of creamed corn from donors. A fancy watch is, of course, more valuable than creamed corn, but -- it's not exactly uplifting, is it? In fact, it would stand out next to cheap clothes and maybe even be an easy target for thieves.
I’ve certainly been suspicious of people who’ve given me gifts for no reason before after some bad history. I’ve had people suddenly be nice to me for a bit, often with ulterior motives. Perhaps in this case the (very) wealthy benefactor feels they’ve washed away some sin. Maybe they feel guilty they got out of the town they hated, or maybe they remember doing something bad to the narrator. But there is no indication their act would be a net positive.
This seems deliberate on the author's part. The title of A/The suggests the giver has given out other gifts like this before. So there's an odd spooky feeling This one is odd and spooky without anything supernatural. Just maybe someone trying to whitewash something in the past. At least that's what I got from it. Given this is Neo Twiny Jam and the author said you can fill in details, there's enough flexibility in the story, you may find your own interpretation.
I remember the author's name looking familiar, and then I realized they'd written a lot of IFDB reviews. I hadn't recalled them writing any works that could be reviewable on IFDB, so I was glad to see Neo Twiny Jam gave them an opportunity to be on the other side.
This is a short conversation where you head to a doomed sales pitch, which is doomed because of your social awkwardness and the uselessness of what you’re selling. It’s benevolent towards the poor confused protagonist (punching down would be easy but wrong) who may have visions of being someone who repurposes or synergizes (obligatory buzzword) two ideas that, well, are less than the sum of their parts. They think they have found something new. Perhaps the only reason it is or seems new is that everyone else who thought of it ignored it.
I may be reading too much into this, but the night before playing, I was reading yet another article about how everyone in America is fed that you need to be an entrepeneur to really make it, or entrepeneurs deserve a lot more than work drones, or do you really just want to be in a cubicle all your life without being able to order people around? Or wave stuff in front of people’s faces saying "You don’t know you want this, but really, you do," and then they fawn and say "Oh my goodness yes we always wanted this but never realized it?" You should have ambition! It keeps the economy running, and stuff!
The poor main character in this piece has ambition and persistence. It’s easy to poke holes in what they do. But I think of all the times I tried to combine two unrelated things together and failed, and I felt I deserved to make that connection, and I was pretty sure I had something new. I was never brave enough to go to a bunch of CEOs with my ideas. Maybe that was for the better.
Still, I want to try piecing things together and making connections, in my writing, even if I fail as badly as the Sprinklepills salesperson. It really captured a lot of the fears I would feel if I were in a job where I had to make a lot of cold calls. It even got me out of my chair and in a good enough mood to take care of some things that made much more sense than selling Sprinklepills.
This was an entry in Neo Twiny Jam but would clearly also have fit in the Single Choice Jam conducted by the same organizers as well. It's pretty simple--you are a papier-mache puppet among a bunch of wooden ones. You fall apart more quickly, and while you'll be put back together after dancing like the wooden puppets, there's a worry your creator won't do this if you go your own way.
Given that PPP advertises itself as queer horror there are obvious parallels e.g. "come on, you have more rights than you would've had in the 60s. Turn that frown upside-down!" or some such nonsense. You're doing ... well enough, right? But you want more.
This is hardly a new theme but it's always nice to see it expressed in new ways, and here, it is.
Maybe it's that I don't like to talk about the same sorts of things most people do, or read the same things. Or maybe it was in high school that I wasn't excited by fast cars, or I didn't crave a management position, or I (no, this doesn't make me a Marty Stu) wasn't as eager to bash people not in Honors courses. Or maybe I enjoyed certain odd math problems instead of the ones that made chemistry or physics clear to you. Or, like the puppet, I tended to have less endurance for conversations.
This sort of thing persisted into adulthood, with the constant "well, you can make compromises, can't you?" But of course the benevolent (as the author says) hand also restricts you. Perhaps you are in a company where the pay is good enough and it's not as conformist as the next place--really, you could do worse--but you want more, and you're not willing to go home and play MMORPGs with the same crowd you work with. Or you might find an Internet community where you fit pretty well but they can't satisfy a certain part of you, and perhaps you could be more convival or popular if you said certain things, but you couldn't and didn't. (I am thinking about past communities, maybe where others enjoyed retro games, but some people were just annoying. Not the current one! I mean, to the extent that no one community should be enough for us, yes. But this review isn't a manifesto.)
So this sort of thing is appreciated, and if people really shouldn't appropriate it all for ourselves, we can definitely go back to the well and get more inspiration from it. We should have many such sources, and they should go beyond arguments like "you're too good for those bums" or "you're not totally weird, so you deserve something, I guess."
Count me among the people who think Tarot cards are nonsense. Perhaps even having a game where you try and find meaning from them is nonsense. I remember storming through Fool's Errand blissfully unaware of what the Tarot was. That was enough for me -- bringing out all sorts of weird things to figure out and achieve.
And yet, if something doesn't try to suck you in too far to mysticism, it can work quite well. The 500 word limit for Neo Twiny Jam seems to work well, so an author doesn't try anything crazy. There are three cards to choose from, and you eventually choose all three. The order doesn't seem to matter. Each one sends you through a surreal adventure where the choice is to have fun, or give up and not have fun. You can guess which is right. This isn't to bash AWotB as "oh, a kid could figure it out," but it makes for easy replay to explore all the paths you want to. There's certainly a feeling of "oh, can I do anything weird and supernatural here?" And with each of the three choices, you do.
There are two endings, a wholly healing one and a reflecting one. It's a smooth experience, and the Unsplash photos add to the effect. I was left wanting more, all while well aware that when stuff like this gets too long, it may go in for mysticism.
AWotB also keeps your own life and worries, and why you went to a friend for a tarot reading, as a generality. Perhaps this was due to the word count, or perhaps it was a sly dig at how many people who dish out Tarot cards speak, themselves, in generalities. That said, given that I wasn't looking too hard for help, it was a neat journey, and after I played it, I felt up to doing some annoying tasks I'd been putting off. So it served its purpose, in its own way, perhaps because I wasn't looking too hard for anything. This may not be related to mysticism but more to just remembering to lett your mind wander a bit and not pressing too hard, or taking a break from Internet sites whose business model is wasting your time and draining your energy.
Whichever, it's quite nice.
Near the end of Neo Twiny Jam, a lot of people submitted games, and my goal of reviewing half the games before the end went kaput. On balance, this is a good thing. More to review later. But given my goals, it felt like I had something taken away from me, even though I really hoped to see as many entries as possible.
Clarence Street, 14 was one of those. In fact, it seems to be bit hard by coming in before the final wave, so if you look at games submitted by reverse date, it's not easy to see. But the title intrigued me.
You see, the title gives more mystery for an American reader, since we don't have very many addresses here under 100. The most notable exception I remember is in the Chicago Loop, at State and Madison, which is officially the zero north and west point. As you go further north, Lake Michigan moves west. Until then, posh stores give way to mansions, which give way to a park. And of course 10 Downing Street is a famous foreign address.
So the story had a good bit of mystery from me just reading the title. And it kept up through, for 500 words. What is it? What is the character doing there? And why? This is revealed at the end.
I liked how the tension built, and I liked how things seemed legitimately different after the reveal, which felt more than fair and logical. I saw the character in a different light, definitely. In fact I liked this better than Collision, which got a lot of deserved nice comments, because the surprise twist here felt a bit more real. They are both worth it. (The author had a third entry, too!) It certainly makes me want to work through other late entries to make sure I didn't miss anything else really good.
Semi-spoiler with meta-thoughts: (Spoiler - click to show)the character has gotten lost in the shuffle, like the game with all the other Neo Twiny entries. I won't say much more.
For me if something is going to be linear and use effects, it either needs a buildup or payoff. And in vanitas it has both.
You can see where it's going pretty quickly. Two friends more or less stay in touch as the dominant social platform changes. They discuss how nice things were, well sort of, while also realizing how bad it was. (False nostalgia is touched on quickly and effectively.) You may or may not recognize each individual site as you hit space and go through various conversations.
The ending, which is very much worth it, seems meant to be open for interpretation. It's creative and lampshaded a bit. It certainly made me think of how exciting it must have been for my parents or grandparents to be using the telephone more regularly, maybe complaining about how people can listen in, or how the phone monopolies are ruining everything. It reminded me of a whole bunch of nuisances, such as busy signals with no answering machines available. And that is the unemotional side.
vanitas is not a very tangly game. You can just hit space a bunch, then tab your way to open the next social media site. But it's effectively done, and the aesthetics are not there to show off, and the final two scenes are definitely worth your time. I recommend just poking around to bulldoze through rather than noting this spoiler, but since we only have so much time, (Spoiler - click to show)the final two scenes look into communication into the past and are deliberately obscure, as people's complaints about Zuckerberg or Musk may seem 100 years from now.
This was a relatively quick Neo Twiny Jam entry without too many choices, but what were there were quite funny. A lot of details aren't filled in--you've warped to some odd reality to track down someone who's, well, been warping through realities too much. How strong their essence is, you don't know. They only give cursory excuses. It's unclear whether they're evil or ignorant.
That said, you have a job to do, and there's some mystery as to if anyone is at the typewriter.
The ends are abrupt, and that works for NTJ, because they needed to restrict the word count and also provide a few passages through, and because it's about the apocalypse. I also enjoyed the detail of a portal folding into your pocket--it's good surreal stuff presented quickly.
Despite giving relatively few branches, DGtT got me thinking of what its universe was, how it was built, and so forth. I enjoyed it on its own, and making up my own backstory, which seems to me proof the author used their words well. But I would still enjoy reading how the author themselves would've expounded on it.
Bitsy has been a very valuable defense against having too much angst at once from a game. For me it reinforces that the game is not trying to crush you with detail. It says, I'm trying to paint with relatively broad strokes with these pixels, and you may fill the details in, if you wish. And so I do, much more than with much slicker productions. Perhaps it also says, to someone who remembers GameBoys and GameBoy Colors, that there was more than just basic shoot-em-ups available there, and we can still find them.
That's not to say it invokes nostalgia, but it reminds me that progress needn't be just about higher graphical detail or more color or whatever. It reminds me of stuff I always wanted to do, of my own basic programming efforts to move someone around with a cursor and arrows on the Apple. And yet at the still at the same time it can still give a complete and small world.
Even if the world is, technically, only two rooms large, as in Letters To a Friend. That's more than okay. And the whole "my apartment and I'm lonely and maybe it's COVID" thing. But the apartment itself is kind of cheery, with a wardrobe and such. As you bounce into scenery, you note things like you haven't really needed to buy any clothes, but you really should take the recycling out, because this sort of stuff does pile up.
And that's the main thrust of the game. You haven't checked your mail from a while, and there are letters from a friend. The catch is, it's someone you don't know. And you figure they must be regular. It reminded me of emails I forgot to send back and emails I didn't receive back, and I promptly went out and wrote them. It ends on a positive note. (Though I'd have liked an ending screen instead of scrolling back to the top.)
Elitists may claim this sort of thing doesn't wash in the long run, but seeing a regular drip of efforts like this certainly make me want to try something in Bitsy. It's versatile and lets you say what you mean to say, without feeling you have to oversell it, and that hits me as an author and reader/player. The one-bit graphics give a certain charm that say "You know, I'd like this character to live in more than two rooms, nice as it is," even as another part of your brain might be horrified at the thought of living in two rooms for so long.
Bitsy seems to have a certain baseline and shell against really rough stuff--it's hard to do anything to gross anyone out--and LtaF goes well above that. Maybe the novelty of Bitsy will wear off for me, but then, when I first saw it, I thought it would wear off quite fast. It hasn't, because of efforts like this.
500 Word Hotel Escape is about what you'd expect. It's not a huge hotel. But you overslept on the final day of vacation, and now it's locked, and your room is isolated. No easy way out.
It's not hard to lawnmower through, just searching everywhere, as you discover a key or two, as thankfully it's not all about finding keys. There is variety!
5WHE flipped the fears from the times in hotels I hoped I hadn't misplaced my key on their head--the point being you are busting out instead of in, and I found the ending to be lampshaded more than well enough. So there were nice little subversions.
I'm slightly bummed the author didn't slip in the other stuff they meant to. It feels like the writing could have been tightened up slightly, but then again, I found it tough to cut down my word count below 500. Perhaps some simple graphics would've helped, as a lot of the writing specifies directions e.g. "the window is behind." But this is technical quibbling. I think I'd enjoy seeing 1000 Word Hotel Escape to see what the author couldn't quite slip in.
Well, you got three 500-word entries in the Neo Twiny Jam, and the moderators gave the author their blessing to write entries as sequels of each other and I think the author made a good choice here. Perhaps if too many authors tried this, I'd say "hey, come on, write very different stories," but it acted as a relatively strong baseline, not trying to be to fancy or evoke too many emotions, and the 500-word limits provided balance. It was a good introduction to NTJ for me. But it definitely had its mystery!
You see, I managed to bungle things and read the second part first. As a result, I certainly was left wondering whether there was a breakup or whether someone was dying. I actually leaned towards the breakup and wondered if the third part had reconciliation! And of course I wondered how they met, and the first part probably hit harder than if I'd read them in order.
However, it is about death impending. It's very smooth, and while the interactivity isn’t huge beyond putting in names and choosing a few locations, that doesn’t affect much for me. It is about, well, people finding each other and living a life together, and their hopes for the beyond.
Re-reading it I was amused to note how it seemed to incorporate fantasy tropes (going out on adventures) as feeling like, maybe, a high-paying job in the real world that required a lot of travel. This was unexpected. I also enjoyed the brief discussion of their one kid much different than them. One generally doesn't think of such things, or you suspect character classes stay in the family, even if you need one of each class to go on a quest.
A longer word count might've caused it all to get too maudlin. I’m glad the author used these entries the way they did. I think the results were different than they would have been for, say, a 1500-word limit jam. It all felt well-paced and balanced. While the maximum interactivity may be picking the passages up after a week away and trying a different one first, I indeed did so. I enjoyed sketching the lives of the letter writer and receiver together in my mind, filling in the holes.
Ah, fitting in. All sorts of works can be written on it. How to do so. How fitting in may actually be bad. How it was nice, but you need time to yourself. JaNH looks at this--I read the author's blurb, but on replaying, I forgot it came about after research on autism. Of course it's awful to laugh at others' attempts to blend in if they just, well, want to blend in. But when they're trying to infiltrate a social order to disrupt it later, we should feel free to go ahead.
This is a brief humorous explanation of humanoids trying to fit in to human culture. But there are so many ways they fail, despite having done extensive research. The names don’t sound right. And ... well, no matter how much research they do on blinking, it fails.
Blinking is so natural to us, yet we can’t explain it. We don’t even know we do it, and it’s painful to keep our eyes open.
There’s a neat trick where you click on an eye and it opens up more text. It provided some much-needed color, though having a whole box of eyes blinking seemed like overkill. (Don’t click the big eye at the bottom.)
However, everything else was pretty effective. It’s easy for me to say “yeah yeah another game about fitting in,” but this offered genuine humor. There’s a chance to fail as well.
One thing about writing about fitting in, though, is it can be danged if you do or don't. If it fits in too much with the existing literature, it doesn’t push the envelope. And if it tries too hard to be its own thing, well, it isn't even TRYING to fit in, amirite? This is where individuality comes in, and while I think JaNH's text effects were a bit overdone, I found it fits well in the jam without surrendering what makes it itself, despite being about, well, not fitting in.
A side thought on playing through: some groups I felt obliged to fit in, not because I wanted to, I never realized that some people were, in fact, acting at “being themselves” but imitating their favorite comedians or celebrities or actors from a movie or even book characters. They seemed natural at the time. But they had done a research of sorts, too, like the aliens in this story, and of course they couldn’t tell me how to fit in, because it would blow their cover and show them as not original!
Over the years I've moved from "I guess I have to fit in here or somewhere" or "if I can't fit in here, where do I fit in?" to worrying less about this sort of thing. JaNH captured my former fears without, well, making me captive to them.
Being a Cat Person, I'll play any game featuring a cat, especially if it's on the cover. And it's not just on the cover. It bounces around a bit in the game and on the screen, in line with how you the powerful villain just can't bring it to heel.
This one was submitted just before the deadline, and it's one of those very happy entries that feel more like the author spent a lot of time wondering if it was worth the bother, because maybe it was too silly, but perhaps all that time thinking pushed forth a few ideas that made something funny. Whatever the reason it snuck in, I'm glad it did!
I enjoyed the expressive white line drawings on black, too, which it reminded me of times cats were being slightly impossible and there was not much I could do about it, but of course there were good special memories and I was sort of bummed I didn't have a camera handy.
There are three endings and not many choices to get there, this being a Neo Twiny Jam submission. I enjoyed comparing them a lot, and I think you will, as well.
Works that mention certain things almost always invoke certain reactions in me. In this case, it’s a relationship that went on too long, for 11 years. I was wondering briefly if it was someone who turned 11 and felt they were too big for certain things, or even friends who found each other when they were almost 11 and broke up in adulthood, but – well, it’s 11 years of sort-of stability. And of being in and out. As happens with friends, because life happens. The interactivity is based around rumination about things that could've been done differently, or things we didn't notice until too late--or things we didn't notice
I’ve been sucker punched by people who told me I was lucky to have them in my life, not I, like the narrator, was being used for someone to lean on and then run away. There were people I was just glad they didn’t point out how unexciting I was. Or if they did, they provided ways to become more exciting!
But they never really asked me what I cared about. They just assumed their needs and wants were more important than mine. But they did come with a few superlatives, which it felt rude to turn down–before the next long rut. I felt I was ripping them off, since I could not offer superlatives back.
I took a while to realize these quasi-friends were in the way of what I wanted long-term, which was different from what they were pretty sure I wanted or should want, because friends help friends find what we really want, right? And of course some of them let me know I interfered with their long-term goals. Perhaps they implied they no longer had enough time for me, and my response was to do a complete reflexive 180 and make time for them to live, as kids these days say, rent-free in myhead.
And it cut another way, too. Some people, I wanted to be better friends with, but suggesting I'd be interested seemed an implication they were not that exciting. There are also some people whose lives I went in and out of because I figured they had enough friends, and it never struck me until recently that they may've thought I thought I could do better than them or felt brushed off. Then there are the people I haven't seen for, say, eleven years, wondering if I should've done better, or trying to place down a detail that makes me feel better about not wanting to be around them.
It’s tough to remember these things, but not so tough as it used to be. I have my own examples that parallel this work, and I wrote down a few more after. Some featured periods longer than eleven years, some less. "I took notes on this" seems like backhanded praise for an emotional piece, but to me it says, I experienced more or better than just an emotional spike.
The language in almost eleven is straightforward, but meaningful. The lack of melodrama works well enough, I’m worried this review may be way more melodramatic than its topic. But I hope this review is somewhere around as illuminating as almost eleven was to me.
Some games in the Neo Twiny Jam seemed like they might have had to leave something out due to the word count, and the authors did a good job of packing the right stuff in.
Palazzo Heist does that and more. It works both as a standalone puzzle and something greater, and of all the entries I played so far, this is the one I most can see and, maybe, want to see expanded into something much bigger. You may guess that 500 words is too much to describe a full heist, and you'd be right. It takes a bit of time explaining what you want to steal and why (not just riches.) Then it simply has you try to enter the palazzo.
It's a neat puzzle, with all concrete details and no knowledge of Venice needed. But it has misdirection which adds to the atmosphere without being unfair, and everything you need to know is pretty much contained in the description. It has the feel of a parser game where you need to examine everything. And I mean everything!
There’s also a way to sort-of fail that I found amusing. I didn’t try it at first, because I was trying to get through, but I was glad to expand the author's world a bit.
Looking at the relative popularity of items in the jam, this one slid way behind the other's work, *Eviscerate This Girl*. DCYOA seems a lot more my speed, and I'd like to encourage others to give it some love or thought, too, if you haven't. You could simplify it down to just choosing 3 tarot cards from a pack. Instead of double-edged, murky, stuff like Death or The Wheel, though, it's odd gifts like a Celestial Pillow, which helps with Lucid Dreaming. Or you can visit a paradise resort, but you have to pay for a room. Nothing practical or earth-shattering, but always fun. You choose three, then at the bottom, you click at the end, and said three cards are together.
It's interesting to re-read through and see which is the best fit, but I was amused by how I quickly said some at the top were the best, or if I was offered them take-it-or-leave-it, I wouldn't wait for the next ones. They were too good.
But at the bottom is a choice that might expose my reflexive gratitude as selfish. It's a choice that allows gifts for others. You are less powerful. It's double the height and width of the other cards--whether the author just wanted to leave relatively little white (well, dark here) space or kind of unsubtly point out what they feel is the best gift here, I certainly had a moment of reflection. I'd been slightly enchanted by the possibilities and then felt like a bit of a bum, nothing to ruin my day, but I realized that even with gifts that seemed benign (as opposed to the ones from a Djinni that cause bad things to happen elsewhere) I hadn't thought much of ramifications, or What Was Really Important, or I assumed my gifts could cover WWRI later.
So whether or not it was intended to be a psychological experiment, I found it to be an effective one.
Neo Twiny Jam had a surprisingly large (to me) ratio of fantasy-quest games by authors, all of whom really seemed to know what they were doing. There've been a lot of works with emotional impact, too.
But this one combines both, while sneaking in under the maximum word count. I wasn't expecting what the curse was, and you probably won't, either.
Of course, given that it has some narrative, the tomb is not VERY big, or the quest VERY long. There's really only one puzzle and a few things to observe. It's a puzzle you can maybe guess, but said puzzle also has under a hundred states, so figuring an efficient brute-force method is a neat puzzle on its own.
It's a very clean effort, without extra fanfare, and I'm left with a clear feeling the author could (and should!) create something much bigger if they wanted. I'd also like to praise the cover art, which drew me in without grabbing me.
Finally, thanks to the author for including the source, and for telling us to experience their game before looking at it. It's in chapbook, and I used sugarcube in the jam, but several things still made immediate sense to me.
Piele is a work that probably isn't intended to make sense the first time through, but it was rewarding to make sense out of and figure what was going on. Even if I didn't already trust a work by Kit Reimer to Go Somewhere Interesting, it was pretty clear the confusion was 1) intentional and 2) added to the experience.
To overgeneralize, there's a small page text in a language you probably won't guess. I had fun doing so. It's not from a huge country, but not an obscure one either. The point is that you go through the process of deciphering stuff, not just translating, but understanding what the words mean. The writing is poetic in nature, with two poems of four lines each, and sometimes, when you click on it, the literal interpretations appear first before the translated ones do. So the meaning slowly pops up.
This feels like a work you should experience for yourself, as explanations or critiques on my part would either fall short or be just plain wrong. So I’m just going to mention that clicking on the ending twice kicks you to the end of the work, so avoid that if you want to see it all right away!
Hint for the language: (Spoiler - click to show)look at the accents. They are unique (AFAIK) to a reasonably-sized country. If you're stumped, (Spoiler - click to show)cut and paste and use Google Translate. I think it’s a good choice for what the author was (I think) trying to accomplish. And I think it was successful, and that’s why I’m only semi-revealing the spoilers.
One other thing that makes more sense after the first time through: (Spoiler - click to show)the cover art.
It's always good to see IFComp authors pop up somewhere else. Whether these people are publishing books or just clocking thousands of rep points on stack overflow, it's a reminder to me that while I enjoy having a corner of the internet, but I don't need to stay in a bubble. In fact, I should not.
The author wrote Flattened London for IFComp 2020 which was a combination of Flatland and Fallen London, and it was a pretty big and amusing parser game. Then for IFComp 2021, they wrote My Gender is a Fish in Twine. I thought it was an effective and succinct counter-measure to those who used gender pronouns as a joke, and it never got close to over-earnest crusading.
This is about a slightly supernatural cycle of life where someone's body is repurposed following death. It branches to three stories, then a conclusion. It has the odd effect of making, for a moment, (Spoiler - click to show)cannibalism seem almost natural, each small story in a way reminiscent of how I read Native Americans performed rituals after hunting certain animals for food and made sure not to waste as little as possible out of respect for the animal's life.
But in our brief glimpse into Jacob's world, even what is not used, is used. And what is not used to clear constructive purpose has its own use in a way. It makes a clear case for content warnings, but paradoxically, the stuff that causes them is potentially the most uplifting or hopeful.
I hope Carter Gwertzman is writing other stuff, too, outside of comps and jams. I'm pretty sure that is the case.
(Note: Manonamora's review mentions the first sentence, which left an impression on me, too. Maybe you as well.)
This is a short story that takes an idiom and turns it on its head effectively. That idiom is "may I have your name," except, well, it’s literal in this case. It’s hard not to feel a bit defensive about all this. You get some interesting deflecting responses. You shouldn’t have to say them.
I don’t think there's any way to do as the fairy asks. But it’s a really neat look at invasive, unwelcome questions and having one’s personal space breached in a way that doesn’t make me need to go wash my hands after.
They way it ended for me, I wondered if the fairy ever had any intentions of taking your name, or it just wanted to be annoying, like a low-key catcall. Maybe it had no power to do anything.
It’s an interesting clever twist on chance encounters where someone was rude to you for no reason at all and you are left wondering "what did I do" and wondering why you feel just a bit icky even if you can't put your finger on what the random passer-by did to annoy you.
"Please don't take this the wrong way" can be said at least two ways: from a position of power, or not. It can act as a pre-emptive apology all polite listeners had better accept and, thus, let the speaker rattle on for longer than they really should. This sort of conversation is often laced with "no offense, but you know what your problem is?" or "I know I can be harsh sometimes, but people need to wake up and hear the TRUTH!" and other such gems. Or it can be legitimately confused, realizing you see something a certain way and don't want to look down on those who don't, and they don't even have to come over to your view.
The speaker in this interactive essay/poem is decidedly in the "not" category. They've probably heard the phrase a lot from more powerful and confident people, both those who want to help them, and those who don't. They have a pretty clear idea of what they want to say, but all the same, people do seem to take it the wrong way, or they offer pity or other things that don't help. Or they put more stock in certain actions than they should.
One of the key phrases revealed on clicking is "I just want people to listen sometimes." And this struck me: everyone wants someone to listen sometimes. For many non-autistic people, they know how to increase that sometimes until acquaintances find it hard to pull away, whether at the start of a conversation or after thirty minutes of yacking. Whil I can't speak for anyone autistic, they know they probably aren't good at it, and they see the facts, and that's all that needs to be said. But that makes people more squeamish than some narcissistic fool's endless blather about how they had to wait in line too long at the DMV, or something.
The essay itself has words or phrases you click, which let the user expound. If you're paying attention, you'll see roughly where it's going, that here is a person who just wants to be understood and really, clearly, does not deserve to have some "wise" adult pass off some rubbish like "to be understood, first you must seek to understand others" before, perhaps, saying they understand the speaker perfectly, and it ain't pretty.
I've met people who are able to laugh off self-destructive or self-impairing behaviors (a "happy drunk" is a relatively benign case here) and people who feel bad they can't fix things they want to. But there's also some unwritten rule many of us live by, in that if we see something wrong with ourselves or others, we should try and fix it. The narrator here has experienced do-gooders who followed that rule, in various degrees of good faith, and they don't help. Perhaps this can apply to those of us who are not very social but would like to be and fail, or even those who keep making the same programming mistakes over and over again. So I appreciate this work very much.
So I'm the sort of person predisposed to like this author's sense of humor, kicking well-worn tropes when they're down in a sophisticated playing-dumb sort of way, but I think this will have mass appeal. It has pretty much everything needed to make you happy you (sort of) wasted time. Each passage and choice is, you see, one letter long. The actual quest (as I see it) mirrors a well-known fantasy book, but you get there your own way. There are lots of ways to fail. Of course, there is the "sleep in bed and do nothing" possibility. One of them has you marrying a dragon and having a kid. This might not work with long drawn-out passages, but it does here.
There are also audio clues of the “best” choice. Sometimes it's pretty obvious. The right choice is contained in what the voice (the author's, which is a nice touch) says. Other times you have to remember some tropes. But it's non-intrusive, and I very much enjoyed the reactions, especially to one that promoted inclusivity nicely without being preachy.
I'm one of those people who always felt bad that I didn't enjoy 500-page fantasy novels as much s I should have, what with everything to track and the descriptions of scenery which quite frankly got repetitive and tedious after a bit. That's not a problem here, with just 500 words. On the one hand, it's an exercise in efficiency, but on the other hand, it was oh so wonderful for the author to have packed in as many jokes as they did. I was just happy I got things under 500 words, and I was relieved to get rid of some of the more flabby sentences. The author did me one better.
I'll likely enjoy said novels even less now, maybe because OWW (which may be an inappropriate acronym, yet it could fit into a passage or a choice!) puts things to a much higher standard. I hope more people see and enjoy this. The author's work is always good and funny and enjoyable to me but this, to me, is a spike up from his usual high standards.
This one, I thought I'd written a review for during the jam! It was one I connected with, but it felt almost silly to write, or to remember fears from high school. And it suggests some fears are still very real, if not especially crippling. I knew what I wanted to say. But I did not. At least, for a while. I wasn't sure how much to share. But on replay, I had even more. So here goes.
You see, I went to a horrible four(?)-week driver's ed school the summer before my senior year. For many kids, learning to drive was exciting. But I had quite a lot of my mother saying how expensive insurance was, and how teen drivers had better shape up because they are careless, and so forth. It was a bit of a shock to me that some people enjoyed taking Drivers' Ed. That includes kids who would lower their grade-point, even with the easy A, because of the boost from honors and advanced placement classes! One other thing about Drivers' Ed: it was at the fourth floor in my high school. I never went up there as a student. So it held some mystery when I finally went back on an open house night, after having sold my own car because public transport was good enough. It wasn't that exciting when I got there, of course. But it was a reminder of other things I'd built up and not looked into.
My first instructor apparently spent a lot of time in nightclubs, and he'd yack on endlessly about it, so as not to put people on edge, apparently. The (very faulty) reasoning being that if we were being deluged by the subject of how interesting and outgoing he was, we couldn't feel fear!
This confused me, since drinking occurred a lot at nightclubs. And drinking and driving was bad. Suffice it to say that I did not need the negative reinforcements from certain driver's ed movies, the newspaper clippings on the wall of very sweet and lovable kids who screwed up, assuring me that I had better not drink and drive. All blissfully unaware I'd never even been to a party with alcohol at that point!
How does it relate to the work? Well, TRH's background music--well, it reminded me of those horrible driver's ed movies that tell you not to screw up or you'll endanger your lives and others. It establishes fear, but a totally different one than perhaps the drivers' ed movies want you to feel. It's a fear of understanding too well how you might screw up and not having the confidence to avoid that. It's a fear based in how you maybe aren't acclimated to how cars have safety feature, and the rules of the road--well, how to be a safe driver has a lot of precautions, and if you're paying enough attention, you'll catch things. Or you'll wind up getting close to a mistake, but not really, and if you're conscientious, you'll realize why people do certain things.
At some point, though, being over-cautious is too much. And I never had anyone address that until my nightclub-visiting instructor said "YOU ARE OBVIOUSLY TOO SCARED TO GO ANYWHERE WITH A HIGHER SPEED LIMIT." Between them and my parents--ouch.
And the parents in this reminded me of, well, my own. They know how to nitpick. They never suggest the simple truth, which is that you learn things fairly quickly if thrown into the melting pot. And ... well, having a kid drive at night for their second lesson is a really, really bad choice. There's more to remember, with turning on lights. It's harder to look for a stop sign, or for people not wearing reflective clothing or whatever. There is so much to process, but the parents failed to keep it simple.
So I see, intended by the author or not, two parents that threw the kid in the deep end and, conscious or not, had something prepared for the kid's inevitable failure, or almost-failure. And the kid certainly beats themselves up. There is more fear than there needs to be and a shocking lack of empathy from the parents, who don't outright tell the kid they're a flake but jump on small mistakes.
Oh, that combined with [spoiler]the kid realizing they could have hit two pedestrians not paying attention[/spoiler]. I empathize with the narrator, for being pushed into fear that drains them, trusting adults to plan and do things correctly, but the adults did not.
This is all very negative. My story had a happy ending--I had a second driving instructor later who said "just go ahead. I trust you." And it worked. The second instructor actually smoked in the car, and it did not bother me. I reacted favorably to his lack of "exciting" nightclub stories tinged with belief he should be an even bigger man when out on the town than he was. (Note: the first instructor did shut up, but I felt guilty that I was so distractable, he couldn't share the stories he wanted. Also, he is on Twitter now, and one of his most recent pictures features an odometer going up to 100 MPH, which is well over all speed limits.) I don't drive much now, but I feel confident I recall the basics quickly. It's the opposite of fear--competence without excitement.
This is a bit long-winded, but it's my own driver's ed story, so different from the average "I AM GETTING MY CAR!" But I hope it shows more growth and overcoming fear and how TRH brought that home but also reminded me I had progressed past certain fears. In a nutshell, what is a joyful rite of passage for most teens is extremely stressful, for the narrator. And they, unlike most "normal" kids, are unable to put small mistakes behind them, likely due to adults who needed to flex how with-it they were and others weren't. That's sad and terrible, even before the story's climax.
On its own, this is just a choice between whom to call, without a lot of data You have a conversation, then hang up. But paired together with a predecessor, a penny drops. It becomes more than a small vignette but a true story.
The predecessor is a cookie-clicker sort of game called Literally WatchPaint Dry. It's not the first boredom simulator and won't be the last. But it's a relatively quick one. And it uses the cookie clicker engine to relate a story with all the paint you watch dry. A friend turns away from you based on who you are, but another takes place. The implication is that there are some people you can watch paint dry with, and some people who were maybe exciting at first, or you did more exciting things with, but they were unfulfilling.
Perhaps this back-reference bends the rules of NTJ slightly. But I think this entry in Neo Twiny Jam can stand on its own. Pair it with LWPD, and you have something very nice indeed. It requires a certain confidence to call a game LWPD or, indeed, to refer back to it. That confidence is not arrogance, here.
I confess I used a keystroke-sender to get through LWPD. There is nothing beyond the first day and a half (129600 seconds to be precise) and it subverts the whole pointles clicking genre with something neat and emotionally rewarding. You see the backstory behind the friend who wants to be with you and the one who doesn't. You realize perhaps you were calling the old friend out of habit or misplaced loyalty.
It reminded me of a friend who I thought was okay watching paint dry with me. Then I figured I got too boring for him. But then I thought of what his ideas of excitement were, and I was glad I was boring that way.
LttPR lives up to its credo--it allows you to take it or leave it, even if it is different from the other entries in the jam (it is very plain, itself, but refers to previous non-text-based games, in this case one made from a graphic engine for a game originally meant to be mindless) or not being very interactive. It may, in fact, not be exciting. This is not because the author has a lack of creativity. But there are many efforts about far more oppressive circumstances that get the point across and may seem shinier and more praiseworthy. Many are. But LttPR focuses more on personal rejection and coping with it without drama and, in doing so, it is saying it's okay with what it is. This isn't a backhanded compliment, but I always enjoy works that don't have to be exciting to be creative or thought-provoking, especially if they help me recall certain negative things in a more constructive light. LttPR did that.
If you worry Buck Rockford is too on-the-nose as a Western character name, fear not. This work is not fully in earnest. And Buck’s name works doubly for me. Why? Well, having lived in Chicago for a while, I know of a good-sized town about 90 miles west called ... Rockford! It is not a terribly romantic place to live, alas.
Buck Rockford Heads West (BRHW) is itself an effort written in Ink, where you, as Buck Rockford, have a choice of four professions to follow. Each is stereotypically Western, except for weird twists that happen once you start. In each profession, you may have a drastic life-or-death choice, except ... well, it only affects the story.
Each part of the story at first relies on standard Western tropes, and while Western tropes have been done and mocked enough to make me scream, this is different. There is no "howdy pardner" or long description of scenery. There is simply doing stuff wrong on purpose, which turns out to be way more interesting than doing it right. Here the enforced word count works well. Twists and turns are packed in nicely.
Eventually, Buck finds his destiny, which is sort of unexpected, but it makes sense given the surreal logic of the story. Strangely enough, I found it related to (Spoiler - click to show)Mr. Seguin's Goat, which I'd played a few weeks ago in ParserComp 2023, because of (Spoiler - click to show)the themes of having too much freedom not being so great. In fact, because of the nature of the story where one adventure does not help Buck on any of the others, we can either note that he is going around in circles with his four choices, or he does in fact find worse luck somewhere along the way. (It's possible there is a hidden ending for doing things the "right way." But BRHW doesn't feel like it wants to force to you. I played through several times to check.)
I was surprised how much I thought of it afterwards as more than just a bunch of clever jokes and misdirections. It reminded me of back when the World Wide Web was more volatile, and I thought I'd find a webpage where I'd stay longer than I did, or a community that should've worked, didn't. Some webpages seemed terribly avant-garde or clever, but they were just flashy, and once I heard the same old snark a few times, I moved on. Then on stumbling over a website from over a decade ago, it seemed old-hat, the "insightful" humor too cruel.
Similar things happen with art, of course--people loved Sasha Baron Cohen's Borat for different reasons. The parts that got the loudest laughs didn't seem to age well, and the odder parts, to me, showed profound insights. And Cohen himself keeps needing to try new characters or environs. Once his current alter-ego gets too popular, he needs to move on.
Neo Twiny Jam has its share of downright depressing works where someone is stuck. BRHW is about being stuck in its own way, but it has more a sense of melancholy, of searching for more. Perhaps not of discontent but of knowing you will kind of shrivel up and growing if you stay certain places too long. But it's told to you not by a self-help guru worth tens of millions of dollars, or even a teacher in high school who said you should be more interested in their subject than you were, because that's the way to a good job. But it's about looking into things you always meant to, a reminder of longing without saying, gee, pal, you wasted your life.
Well, that's what it was for me. You may find your own interpretation, and it would not be wrong. I have already yammered on so that this review eclipses the Neo Twiny Jam word limit. I think that says a lot.
ALL CAPS titles can reel me in or repel me quickly. This did the first. It suggests not just nonviolence but enforced nonviolence. After all, the sleeping beast hasn’t killed you yet! Um, at all. Who are you to strike the first blow? You're in no shape right now! And if you need to kill it, maybe you are being melodramatic about your problem? Maybe you have to admit you have a problem? Maybe you're ignoring the people with the real problems, or maybe you think you're too good to have real problems!
Yes, this is about addiction, or it can be, which you might infer from the cover art with beer bottles. Works about addiction always take a lot out of me, considering whether or not it works. So be warned. They can put me into a pensive rage about things I was told were good for me but in fact put me at serious risk of substance addiction. And I think I’ve discussed before how, say, playing games I don’t enjoy any more (or games just to say I completed reviewing everything for a comp/jam) is sometimes an anodyne that hides my fear of pushing ahead with something I've meant to do for a while. "Well, it’s not lethal," you hear. But there are less horrible sleeping beasts on the surface that can keep their hooks in you longer. That I thought about having to write reviews for every single entry, and writing a review for DNKTSB anyway--one that might even eclipse the 500 word jam limit!--tells you what I thought about this entry.
I think Twine works like this have definitely matured over the years. They’re a lot less in-your-face and feel a lot less like they have to prove a point or be exciting or exemplify the pinnacle of a certain art form. (Maybe I’ve mellowed on my views towards them, too, because there is less of a choice vs parser war than before.) But the fact is--this is surreal without being crazy, and it left me thinking yes, this is an addictive pattern I had, and this is something I couldn't break away from. Addiction is the easy one, but I also remember people who genuinely wanted to help me but I felt I couldn't pull away from some others. As if I didn't want to ruin the happy people's time. These people trying to help are the King in the story, who can be interpreted several different ways. His willingness to help and good intents and even his contempt for your situation are up for interpretation, as is the beast. Having a King and beast also, for me, left me with the question "doesn't someone else deserve to slay a beast first?" It's a nonsense question--you do what you can, and you can never be sure you've slain the beast. But it's one we've all had, if we're reflective.
As for the mechanics, there are a few questions with the same response. So this doesn’t especially branch, but I think (and this may be an old choice trope by now) it doesn’t matter, and you’re stuck. Here you ask how likable you are but are pretty convinced you’re not being objective, and if anyone really cared, or you were worth caring about, they’d help you out. It’s a heckuva dilemma to be in. Certainly I got to imagining "well, I-the-character am less likable for having an addiction, and I probably can’t get back to where I was, which wasn’t great anyway, or I would bring down the average happiness in the room there but not here."
The level of fantasy with the king, the knight (you) and the beast was not too in-my-face and gave me leeway to think of a lot of things. And it captured well how addiction/depression etc. is like a cycle where you say you don’t have the energy to tackle THAT yet, or it isn’t quite SO bad, or it could be worse. Then you have stretches where things go right and you wonder if they really are that right, or you feel dumb not breaking out in the first place.
It reminded me, too, of other things, such as comments by my family about how (paraphrased) druggies hang together. So don’t hang with the wrong crowd or you will get into drugs! And the isolation this presents turns that bit of nasty prejudice on its head because, as research has found, isolation increases the risk of drug use. No, it's not necessarily loud parties, etc. And this character is certainly alone in the game context.
While I prefer comedic works, or ones with a strong vein of comedy, I didn't want to pass up that DNKTSB was effective for me. It asked for a lot, but it helped address a few unfunny things that were tricky for me. I tend not to like kitchen-sink works about trauma. Perhaps I, like the hero in the story, just can't quite kill the beast today, so I settle for less. But on the other hand, a lot of side beasts can get killed with works like DNKTSB.
For what it's worth, after playing DNKTSB, which takes place at night when you're alone, I stayed up late, thinking about things that were broken and things I wanted to fix. It felt constructive. I made a small commitment to avoid some old beasts I didn't have to kill, I hope. So it was practical for me, too.
BBTA is right up my alley. It’s not the first spoof of adventure gaming, and it’s not the first twine game with directions out there (this could be inspired by the parser or by side-scrolling RPGs,) but I enjoyed it a lot, because I think having the word limit forced the author into stylistic choices to avoid elaborate jokes that maybe were heard before, or conventions which wouldn't add anything to the story.
Mages would have to worry about big long spell names. Priests? Praying and so forth. Thieves might be too obsessed with treasure. Bards? Well, you have to shoehorn in a song or two, to make them believable characters.
Barbarians are entities of few words, and they certainly don't futz about with spells! They are people of action. The result is a dungeon that is as big as it could be withe the word limit. I counted eight rooms when I mapped BBTA on a Post-it note.
BBTA also has a few deaths that you really should know if you paid attention. One is hinted particularly well. It is worth taking the scenic route for them. And as brevity is the soul of wit, they and the puzzles do indeed combine for a good deal of humor.
At the end, you get a choice of reward, and the unusual but in-character one is quite funny. About the only disappointment (for me) for this entry was that there wasn’t more in-game art like the image! That said, it was easy enough to imagine.
BBTA felt like more than comic relief as opposed to the more serious entries. There's craft and thought in there, like a Cheech and Chong skit featuring hapless idiots you can't help but like. (Hey, I like Cheech and Chong!) The decisions are surprisingly impactful. And it's fun to replay and see if the choices you make at the start matter for getting through the game. (Spoiler - click to show)They seem to make a difference with how much you get injured, but since you're a barbarian, you brush it off.
Showing All | Show by Page