Dynamic fiction

These two Twine works are short and linear, but use the gamut of effects available to them well. These are good examples of the value interactivity can add.

Compound Fracture by Jimmy Evans (Twine; IFDB; play here)

[Time to completion: 5 minutes]

The actual text in this game is scarce, as words would be when oxygen is scarce, yet it begins with a blasé This game embraces deceptively simple text effects, where links wriggle and shift out from your cursor. Fragments of thought flick by under a visibly lengthening bar, with the implicit understanding that when that bar runs out, so does your time. The thoughts that flicker past hint at past regrets, a family less than proud of you: the usual emotional baggage, but even there’s no time to pursue those thoughts. The writing, though sparse, has a stoic, matter of fact tone, from the first line: “you are going to die/okay”. In one of the endings, you can do nothing but watch the timer count down.

This is a shining example of real-time effects done right, adding as it does to something otherwise quite simple. (This might be easier played with a mouse.)

What to do When You’re Alone by Glass Rat Media (Twine; IFDB)

[May mention suicide, abusive relationships, self-loathing. Time to completion: 5 minutes]

What to Do describes a Google with sinister intentions – one which sees through the user’s seemingly innocuous searches to the doubt and fears behind it. Perhaps it is the intimacy of a search engine that fuels this idea, and the fact that we might address the search engine as we would a friend, and indeed, in the starting screen, the engine introduced itself by saying, “Don’t worry about keywords; just talk to us like we’re a friend.”. It’s the ultimate natural language processor, isn’t it? These games ask, “What if your ultimate reference, your personal librarian, was thinking, remembering, learning?”

While it may be superficially and mechanically similar to Josh Giesbrecht’s Awake, the intent of this game’s search engine is unambiguous. Awake’s search engine is wide-eyed with wonder. This is actively malicious – this was written for ECTOCOMP, after all.

The text effects are normally much maligned, but are used especially thoughtfully here, making What to Do work well as an interactive vignette of a sinister encounter.

Two reviews about exploring mental landscapes

I will be publishing review compilations of two (or three, if they’re really short) reviews at a time. These reviews have previously been published on IFDB, but here I try to group and compare thematically similar games.

All I do is Dream, by Megan Stevens (Twine; IFDB page here; play here)

Cover image: someone playing the trumpet. We can only see their hands.

This game was written for IFComp 2016, where it placed 54th.

[Time to completion: 5-10 minutes]

This is a game about inertia. Every action you, the player, try to do is met with a refusal to do it: it’s too daunting, it’s too meaningless, it’s too disgusting…

Conceptually, it’s similar to Depression Quest, except that this game frames the PC’s life in relation to Evie, their – I can’t remember if it was explicitly said, but implicitly – the PC’s partner, or at least girlfriend. However, it’s very short, and it doesn’t give a huge amount to judge it by. I can see it being expanded out, though. Even if some readers might tire of inhabiting the body of a PC who’s tired all the time, the game as it stands makes me interested about, for instance, Evie.

I particularly liked this line: “You’re good at pushing things, mostly because you have to push yourself to do anything, whether it’s brushing your hair or getting a drink of water or going swimming with Evie. For that reason you’re good at pushing everything back in the closet.”

What really redeems it and lightens the tone of the game is how it ends on a hopeful note, which counterbalances the mood so far.

And we move from depression and ennui to grieving. They may be similar states of mind, perhaps, but grief, here, is given a very different treatment.

Eurydice (anonymous) (parser; IFDB page here)

This game was submitted to IFComp 2012, where it placed 2nd. It was also nominated for Best Story in the 2012 XYZZY awards.

Cover image: an autumnal image of a lyre

In this midlength parser game, you, the PC, are mired in grief for the loss of Celine. Everything in the house, the initial setting, reminds the PC of Celine, down to the most trivial detail.

The setting, here, draws from the Greek myth, and is both used to elicit the PC’s memories and to create a sense of claustrophobia. Despite the social nature of funerals, the PC’s grief is so intensely private, that to share it with others would be an invasion, almost. The tone is bleak – actions are sometimes rebuffed with terse messages: “You’ve been better”; “You can’t remember anything important now”.

Unusual turns of phrase – the curve like that of a human spine; the baboonish chatter – make everyday settings seem strange, something highlighted with the reality-bending lyre, one of the most obvious elements borrowed from the myth of Orpheus and Eurydice.

The game allows for exploration and is generally forgiving, except for the endgame, in which the player’s sequence of actions is crucial.


ECTOCOMP post-mortem: A Friend to Light Your Way

Background: this game was submitted to ECTOCOMP 2016, where it placed 5th in the Le Grand Guignol section (which was for games which took more than 3 hours to produce) (5th, out of 5; it came last). 

This game is playable here

The idea of doing a game set at a Singapore-style funeral has, pardon the pun, haunted me for the longest time. The Chinese-style funerals I’ve been to have been swung between festive and sombre: it is most festive when the catered dinner has arrived and the guests are coming and going, and it is this atmosphere that has left the deepest impression on me. It was almost as if nothing had happened.

This game was originally meant to be a conversation-based game where you could wander around different tables and chat with the various guests at the funeral. Conversation was meant to reveal something unsettling about, say, the deceased or about your parents. As one does. This lent itself well to a world model, but wasn’t terribly easy to implement.

To get something out by the ECTOCOMP deadline, I changed the premise entirely, instead having the PC run around to get things – and what better reason to get things than to complete a ritual? If I ever get round to a post-comp version, I might put more thought into the ritual itself, though. This ritual seems too benign. The stakes are too low to properly consider it horror.

I enjoyed creating the appearance of the voice, messing about with CSS and such. The voice and the ending was inspired by The Uncle who works for Nintendo. Unfortunately, A Friend lacked a lot of Uncle’s tension: the stakes for not completing the ritual in time were pretty much non-existent, for one.

Still, though, it’s my first time creating such a world model in Twine, and I was glad to finally get this off my back.