IF Comp ’16: The Queen’s Menagerie

queensmenagerieThe Queen’s Menagerie (Chandler Groover, Texture) is a shortish piece about feeding monsters. It’s highly Gothic; the closest comparison I can think of is Mervyn Peake, although the thematics are very much in the same general territory as With Those We Love Alive.

Menagerie is an exactly-used word, here. Museums used to be private collections of wonders kept by the wealthy for personal pleasure and to show off one’s cultured wealth to acquaintances; in the same way, before zoos open to the public were a thing, particularly affluent nobility kept menageries. Menageries were prestige projects with a side of worldly erudition: in an era where most people didn’t ever travel very far, but there was a huge amount of interest in far-off places, you could be all, guys, this is my pangolin. Like early zoos – and plenty of modern zoos, to be honest – these were generally places where animals lived in horrible conditions, cared for by people who didn’t understand them very well, until they died. Captive breeding was vanishingly rare, and conservation wasn’t something anybody vaguely thought about. Continue reading

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IF Comp ’16: Yes, my mother is…

yesmymotherYes, my mother is… is a piece of near-future social SF, focused on n/a, a social movement with the impossible aspiration of completely sui generis identity and presentation. The protagonist, an n/a counselor and the daughter of a prominent figure in the early n/a movement, has a series of conversations, with strangers and with significant people in her life, about the movement and her mother.

As usual, you arrive at work a good half an hour before you’re supposed to start. Time enough to drink a little something and do some boring but needed paperwork in peace.

In spite of that, about once a week, someone manages to come in even earlier than you. And today is one of those days. A skinny, frail, androgynous, and almost anonymous in their plain sweatshirt and trainers, person is sitting on one of the four plastic chairs making up your waiting room. Well, sitting may not be the best of words seeing how much they’re fidgeting and blatantly oozing with stress.

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IF Comp 2016: 16 Ways to Kill a Vampire at McDonalds

16ways16 Ways to Kill a Vampire at McDonalds (Abigail Corfman, Twine) is choice-based but designed in a very parser / adventure-game style: it’s heavily concerned with the acquisition and usage of medium size dry goods, it’s set in a consistent map of a handful of rooms, and actions make a timer tick down steadily, encouraging you to slow down and consider your moves.

As the title suggests, it’s not about figuring one single solution; it’s about trying lots of different stuff in the knowledge that there are a lot of ways to succeed. That said, success isn’t trivial; you can think you’re pretty close to a solution but still get killed because you weren’t quite there. So, for a game which is over pretty quickly, there’s quite a lot in here – and it’s also got an achievement system to help you keep track of the vampire-killing methods you’ve found, and hint at the undiscovered ones.

(Also: in a parser game you’d need to describe all this stuff, and because we’re in a generic McDonalds late at night, most of the stuff would be pretty boring – unless the author  found a way to crack wise about the counter and the windows and so on. Parser becomes less valuable if you’re not very focused on setting.)

An often-tedious thing about vampire fiction is that everybody needs to have (and explain) their own iteration of Our Vampires are Different16 Ways just works on the principle that basically every story about vampires is true, and any way of killing them you’ve heard of will probably work. The game’s general vibe is that you’ve seen Buffy and Supernatural so you pretty much know the score; it suggests enough about the characters that they seem like real people, but it doesn’t expect you to be interested in extended backstories.

It’s witty, in a pretty specific register – a sort of Allie Brosh / Jenni Polodna girl-on-the-internet-being-perky-about-how-her-life-is-a-trash-fire voice. Even though its setting is objectively pretty grim, the tone feels enthusiastic and lively throughout. And there is, generally, a pretty optimism-among-garbage tone here. If you try to lure the vampire, it turns out that vampire seduction is really just hypnotic gaze plus shitty PUA techniques. On the other hand, the homeless woman who can be recruited to fight the vampire with the force of her faith does so not with the kind of fire-and-brimstone verses or Catholic-exorcism lines you’d expect, but Song of Songs. Song of Songs, apart from fitting very oddly in with the rest of the Tanakh, is basically an erotic poem about intense, reciprocal, probably spiritual and definitely physical love.

So, OK, one of the most common roles that vampires play is The Sinister Side of Sex. Which covers a bunch of things that are difficult to individuate when they appear in fiction; it can be tough to keep ‘this is my kink and that’s fine’ distinct from ‘I idealise abusive relationship dynamics’. 16 Ways handles this by showing the vampire’s seductiveness in a pretty functional way: the protagonist is someone who’s very used to dealing with vampire seduction, and manages by treating it as a completely physical reaction, to be handled as such. She doesn’t get enraptured by the dark compulsion of forbidden ecstasies, she gets high on vampire spit. The vampire himself is a pathetic creep; the danger he poses is real but not romantic, a problem that should be calmly and systematically addressed.

And on the other hand, there’s a lot of warmth between all the human characters, despite the setting being this basically alienating space. The protagonist’s team-mates are fondly described; the cashier you’re trying to save is ‘adorable’; the homeless woman takes some getting through to, but if you approach her sincerely then she’ll pitch in. So while the game doesn’t push on this all that hard, it’s got an underlying thesis about healthy relationships and the kindness of strangers driving out predatory shit. Which is not the most surprising theme in the world, and it’s not grappling with this stuff super-deeply, but it’s consistently articulated.

I think this is a pretty straightforward 7: it’s solid work, doesn’t have any glaring problems, and it’s a fun time.

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IF Comp 2016: blurbs and cover art

ifcomp16IT’S COMP TIME. The Interactive Fiction Competition is the biggest IF event of the year. A huge variety of interactive fiction is released for the Comp, from weird experiments to finely-crafted standards, from accounts of harrowing trauma to doofy comedy. Its a big weird cornucopia, the fruits of a community that’s historically not really been big enough to split up into subgenres.

I’m going to be reviewing as many games as possible (non-IF people: sorry), but there are a lot of games this year: 58, the highest ever. (2000 and 2015, the comp’s next-largest years, had 53 entries apiece). Slight tangent, but this seems like a good place to mention it: this is the first year that authors will be allowed to discuss games in public, and so I wrote a thing about handling this gracefully. As is my usual habit, I’m going to be posting scores alongside reviews, and I’ve written a thing explaining roughly what that means. Finally, this blog is going into summary-reposting mode, so hopefully giant reams of spoilers shouldn’t be showing up on Planet-IF.

Anyway, this glut of games means that it’s more important than ever to stand out. The initial presentation of a game – title, cover-art, blurb – goes a long way in setting up the player’s expectations before they ever open it, and getting players into a receptive state of mind is a pretty huge deal. And if they’re turned off by your blurb, they’re liable to extend less patience to your game, which makes overcoming that first impression harder.

Figuring out how to present your game is hard; blurbs are probably the hardest writing you’ll do for the game. I loathe blurb-writing. (Oddly, I don’t think most authors put their blurbs and cover art through the same testing process as the actual game.)

In general, a blurb has a few important things to do. It has to provoke interest and enthusiasm, which means that you need to give your audience enough information that they have something to be enthusiastic about. You also probably want to avoid telling too much of the story in advance – but on the whole, comp blurbs are more likely to share too little than too much. I think this is probably because talking about your own work is intimidating, and it’s easy to fall back on mystery.

Cover art doesn’t have the same burden on it. Good cover art can be evocative rather than illustrative, since IF is a basically textual medium; book covers rather than videogame boxes. It helps if cover art avoids looking half-assed – a better-made cover that the author cares about the game enough to invest work on its presentation.

And titles – oh, god. Titling is a delightful activity until you have to do it for real. I love titling hypothetical works, and other people’s children. But I’ve written two games, ever, whose titles I’m genuinely satisfied with, and they’re both speed-IFs. Titling is adjacent to poetry. Titles should roll off the tongue, and be suggestive but not on-the-nose. It’s sure as hell useful if they’re unique enough to show up prominently in a websearch, but you still want something short enough to be punchy. Anyway, my point is that this is hard stuff, and it is only tangentially related to the actual craft of making games, and all these impressions may be for the birds. (Also, if I’ve missed any, apologies. There are a ton of games this year.)

(In case it was unclear, these capsule reviews are written without actually playing the games; they’re the perspective of someone who’s considering which games to play, so the extent to which they reflect the actual games is all red flags.)

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ANCIENT MYSTERIES OF IF COMP is my attempt, in the run-up to the 2016 IF Competition, to go back over Comp entries which I missed the first time around.

primroseNolan Bonvouloir’s The Primrose Path was released in the 2006 IF Competition, taking a rather distant second place to Emily Short’s Floatpoint. It was nominated for two XYZZY Awards – Best Game and Best Individual PC. It’s the kind of game which has a pretty decent reputation, but doesn’t show up much on IFDB recommendation lists or in discussion.

It was also an Inform 7 game released the same year that I7 was released as a public beta; for a first-time IF author with “more or less nonexistent” programming experience to pick up the somewhat-immature I7, learn to code in it, and produce a game that placed second in the Comp within five months is a pretty amazing accomplishment.

If I was looking for a good counterpart to The Primrose Path… tonally, I might go with EurydiceBut it’s also firmly a member of the time-travel tangle genre, alongside works like All Things DevoursFirst Things FirstFifteen Minutes and Meanwhile. Continue reading

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ANCIENT MYSTERIES OF IF COMP: Laid Off from the Synesthesia Factory

ANCIENT MYSTERIES OF IF COMP is my attempt, in the run-up to the 2016 IF Competition, to go back over Comp entries which I missed the first time around.

synfacLaid Off From The Synesthesia Factory, by Katherine Morayati, placed 30th of 53 entries in IF Comp 2015; it won the XYZZY Award for Best Use of Innovation, and was nominated for Best Writing and Best Implementation.

The prose of Synfac is a long way from the standard parser style: it’s chewy, dense, sprinkled with unexpected words. It’s not flowy writing. A lot of writing, you already know where the sentence is going as you begin it: this is not that.  It’s writing that’s extremely uninterested in commonplaces, that hurries over extraneous verbiage because it has an awful lot to fit in; it suggests a protagonist who has entirely too many associations with everything in her life, and can’t stop going over them. Sentences are broken up with colons, semicolons, em-dashes; phrases are abbreviated in the manner of bullet-point notes written to oneself. Continue reading

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The Interactive Fiction Competition kicks off in a little under three weeks. Since its inception in 1995, IF Comp has spurred the production – or at least served as a convenient platform for – over seven hundred works of IF, and has had a huge impact on the culture, craft and criticism of interactive fiction.

Minolta DSC

IF Comp represents an explosion of activity, and is very much a community event, with everyone playing and talking about the same games at the same time. There’s a corresponding post-comp fatigue. In the past I’ve generally tried to play, review and score every game in the Comp, but sometimes that just doesn’t happen. And once the Comp is over, the sense of urgency diminishes, and the games I missed get abandoned in the midden of Things I Should Really Get Around To One Day. (Not that those games are particularly ill-served – they almost certainly received more critical attention than games released outside any comp.)

So ANCIENT MYSTERIES OF IF COMP is a silly title to motivate me to actually get around to going over some of them, in the run-up to IF Comp 2016. We’ll see how it goes. Continue reading

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