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About the StoryA story of mild and non-debilitating obsession.
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Number of Reviews: 5
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In many ways, this game helped shape my outlook on the parser medium. Itís not about puzzles. Itís not about ďAha!Ē moments that come from deducing the right command to type. Itís not about deep simulation or intricate world modeling. Instead, itís about guiding the player through a sequence of events carefully designed, above all else, to produce a mood.
Your only goal is to ascend a tower with which the player-character is ďmildlyĒ obsessed. No real obstacles stand in your way. Itís twilight, and the tower is located on a campus whose population is thinning as night falls. Youíre alone to contemplate the scenery.
As a traditional short story, this wouldnít work. There isnít much story to tell. As a space to explore, were the game to be stripped to its bare geography, it also wouldnít offer much. Thereís a parking lot, a lawn, some empty halls, etc. These locations arenít compelling on their own, and as I mentioned, theyíre not that deeply implemented. What makes the game is the experience itself that the player has while moving through the environment.
That word, ďexperience,Ē is awfully vague, but itís what matters. A story as the word ďstoryĒ is normally understood isnít required, perhaps isnít even advisable, because the playerís experience is the story.
Itís the writing that does the trick here. Well, it ought to be. This is a text game. When a reader has to interact with text, move through it, move it around, this changes both what text does and what it has to do.
Not just anybody couldíve written a game like this and made it good. Itís good because Ryan Veederís got his finger on your pulse as youíre playing. He knows where youíll try to go, what youíll try to do, what youíre thinking at each step. Heís attuned to the experience you should be having, which allows him to gently guide you along and drop little surprises at the right moments. Finding a plain old quarter on the ground, for example, which you donít even need, feels special.
Wrenlaw is another Veeder game with a similar style. I have to admit, I donít like it as much. It tips more into modern literary melancholy, where youíve got mundane objects and scenes, and theyíre significant because theyíre ever-so-slightly sad. But not too sad. Just enough to feel wistful. This sorta thing, to my taste, is like playing with fire for a writer. Itís really hard to nail. The Ascent of the Gothic Tower, however, pretty much does nail it. Gothic Tower feels more self-assured, and itís certainly more slyly constructed. I don't think it's going to budge from my personal parser canon anytime soon.
None of this is to say that The Ascent of the Gothic Tower is not a good time. It certainly is! Veeder's mastery of the craft of interactive fiction is on full display here, with charming and well-implemented subsystems of all sorts, and an occasionally eloquent narrator-PC who has his own sort of off-kilter charm.
Playing The Ascent of the Gothic Tower feels like wandering around in a huge, empty, static palace of stone. You have no reason to be there, and no reason to keep moving forward, other than that it's beautiful, and you want to stay. And the fact that you do want to stay is a testament to Veeder's excellent craftsmanship.
You play as someone who is, in fact, mildly obsessed with climbing to the top of a tower. The tower is described in rich detail.
The game contains a sub-game that is also quite enjoyable, and which uses changes in text over time in a brilliant way.
If you like Ryan Veeder's other games, you'll like this one, and vice versa.
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