Disclaimer: I absolutely adore Ed Wood's master-piece, that slice of cinema that reigns over the so-bad-it's-good kingdom. I own the DVD and all. When I saw Tim Burton's biopic in the movies I clapped at the end, and at the beginning, and every 15 minutes or so. What I'm trying to say is: I'm scared by this one. To be worthy of such a title, a game has to be perfectly awful, otherwise:
if the quality of the game is just bad, say "It's a shame!" instead;
if the quality of the game is good, say "It's an insult!" instead.
But let's move on...
Plan 6 From Inner Earth, by Adrien Saurat
All Things Considered...
A lightweight set, sometimes humorous, almost always poor in the richness of the environment, about a boring fellow with a boring job in a place that we tend to place alongside with mystery and excitement - and this is, as far as I'm concerned, the strong point of the game.
[+] A setting around the boring stuff one has to do in "exciting" places amuses me. It made me wonder about the poor bureaucrat alone in Area 51 and all the America's Got Talent episodes he must have watched. Poor thing.
[-] The implementation is beyond the grave (Get it? Plan 9 From Outer Space? Beyond the grave? AH AH AH!), and the puzzle was... well, puzzlish. It turned out to be as boring as the job itself.
So, how bad do I want to play the full-game?
Not much, but I confess I would love to see the concept (guy alone in ultra-secret government facility, doing ultra-secret boring stuff near an ultra-secret alien in captivity) better worked on, but this intro didn't sold me the idea that this game would be anywhere near accomplishing it.
Notes while playing:
[1] Well, I think I'll have to get used to this, since I've found it abundantly in all the games so far. The description of the room talks about buttons, panels, even "my favorite chair", but it all gives me a You can't see any such thing response to the examine command. It's my favorite chair! C'mon!!!
[2] In the same mood as the note before, I've found this to be interesting:
> X LASER
They are red. Doesn’t look like a “Don’t touch me” warning?
> TOUCH LASER
You feel nothing unexpected.
I also feel nothing unexpected if I touch the alien, in spite of all the security devices around him. It's a Government place, so that's sort of expectable.
[3] As a positive note, I'll have to mention the light humor of the writing. Not that the prose is brilliant in any way, but it has some good moments, like the bug really being a cockroach. It annoyed me, though, that the answer to that particular puzzle relied on verb guessing. I've tried X COMPUTER, OPEN PANELS, SAY HELLO WORLD TO COMPUTER, OPEN COMPUTER, SWITCH COMPUTER OFF, etc. I don't even know how or why did I got to try TOUCH COMPUTER.
[4] "!!ALERT!! !!ALERT!! !!ALERT!!
YOU SHOULD PANIC"
Ok... you made me sketch a smile. Anyway, now I'll have to go to that room where I couldn't enter before, even when I had nothing else to do here but watch TV! Actually I find it boring for the games to decide I can't go explore something because I don't feel like it. I'm thinking of Waker again.
[5] And that's it. I'm stuck with the Second Generator (I even tried touching it, really!) and without motivation to go on. Goodbye Plan 6. You were almost a 9.
if the quality of the game is just bad, say "It's a shame!" instead;
if the quality of the game is good, say "It's an insult!" instead.
But let's move on...
Plan 6 From Inner Earth, by Adrien Saurat
All Things Considered...
A lightweight set, sometimes humorous, almost always poor in the richness of the environment, about a boring fellow with a boring job in a place that we tend to place alongside with mystery and excitement - and this is, as far as I'm concerned, the strong point of the game.
[+] A setting around the boring stuff one has to do in "exciting" places amuses me. It made me wonder about the poor bureaucrat alone in Area 51 and all the America's Got Talent episodes he must have watched. Poor thing.
[-] The implementation is beyond the grave (Get it? Plan 9 From Outer Space? Beyond the grave? AH AH AH!), and the puzzle was... well, puzzlish. It turned out to be as boring as the job itself.
So, how bad do I want to play the full-game?
Not much, but I confess I would love to see the concept (guy alone in ultra-secret government facility, doing ultra-secret boring stuff near an ultra-secret alien in captivity) better worked on, but this intro didn't sold me the idea that this game would be anywhere near accomplishing it.
Notes while playing:
[1] Well, I think I'll have to get used to this, since I've found it abundantly in all the games so far. The description of the room talks about buttons, panels, even "my favorite chair", but it all gives me a You can't see any such thing response to the examine command. It's my favorite chair! C'mon!!!
[2] In the same mood as the note before, I've found this to be interesting:
> X LASER
They are red. Doesn’t look like a “Don’t touch me” warning?
> TOUCH LASER
You feel nothing unexpected.
I also feel nothing unexpected if I touch the alien, in spite of all the security devices around him. It's a Government place, so that's sort of expectable.
[3] As a positive note, I'll have to mention the light humor of the writing. Not that the prose is brilliant in any way, but it has some good moments, like the bug really being a cockroach. It annoyed me, though, that the answer to that particular puzzle relied on verb guessing. I've tried X COMPUTER, OPEN PANELS, SAY HELLO WORLD TO COMPUTER, OPEN COMPUTER, SWITCH COMPUTER OFF, etc. I don't even know how or why did I got to try TOUCH COMPUTER.
[4] "!!ALERT!! !!ALERT!! !!ALERT!!
YOU SHOULD PANIC"
Ok... you made me sketch a smile. Anyway, now I'll have to go to that room where I couldn't enter before, even when I had nothing else to do here but watch TV! Actually I find it boring for the games to decide I can't go explore something because I don't feel like it. I'm thinking of Waker again.
[5] And that's it. I'm stuck with the Second Generator (I even tried touching it, really!) and without motivation to go on. Goodbye Plan 6. You were almost a 9.
4 Comments
I'll start this one by reading the ABOUT, and it turns out the author had this in his mind since the 80's. This plungers me in both fear and excitement: fear, because it is the 80's after all; excitement, because it is the 80's after all.
For the Love of Ornery Blue Yaks, by Doug Jones
As with the preceding entry, I'll start with the conclusions and then go on to the As I Play notes.
All things considered...
A minimal introduction sends you off to explore a minimally described cliché-house that is a portal to a minimally described cliché-forest with cliché-creatures and no story.
[+] It has a maze. And a forest.
[-] No context and no strong concept. We start by exploring an old house with very sparse description and many non-important things. Then we enter a wardrobe and off we go to a magical forest with magical creatures, like a Cyclops and a Minotaur. All very un-original. The text is poorly written and formated (some lines juxtapose, some paragraphs should be there and are not, etc.)
So, how bad do I want to play the full game?
Well, I gave up in the intro itself, so you should be able to guess the answer.
And now let's see how the playing went:
[1] I'm off to discover the mysteries of an abandoned house, which, along with the player, owes very little to the efforts of context or description. It's a house. He is a player. The house has mysteries that some friends told him about. The player looks "about the same as always", only he has a backpack.
[2] Entering the house gives me a "nicely decorated" hallway that has absolutely nothing to look at. It's like a nicely painted blank canvas that has all the art in it, or a white piece of paper which encloses all the letters in the world. The cellar is empty, only cobwebs, but "the cobwebs is not important"; the kitchen has some old food that "is not important"; the living room has sofas and chairs that "is not important". Whatever I do to anything gives me a "is not important" negative reply. Well, last stop: the bedroom. It has a nightstand by the bed. I'll surely want to examine that nightstand:
>X NIGHTSTAND
The nightstand sits by the bed.
Hmm... ok.
[3] The description of the bedroom also tells me that "the only piece of furniture is a big wardrobe", so I'm guessing the bed and the nightstand are in my imagination. I like this sort of concept. It's a Lynchian world, where the object and the idea of the object blend in a world of darkness and confusion.
[4] The Lynchian world proceeds and my head aches! I don't know if this is a bug or a feature, I don't know if the "old school" games wrapped the players in such, so bear with my ignorance if you will. The wardrobe turned out to be a magical entrance to a forest, in which one gets lost. North and then South won't return me to the same location; East and then West and then East again an then West again made me travel through four different places. Well, I like to travel to be honest, I'll be driving in Bosnia this year! Urray! I'll visit Sarajevo and Mostar and I'll also have a swim in the Adriatic sea. Oh, such days never hurry enough, do they? The planes of... oh, the game. Sure. Well, in the last West turn I found myself bloated in the head by a Cylops who wants to cook me and eat me. Speaking of which: I'm off to make myself a sandwich.
[5] Ok, so I stopped playing the game. I killed the Cyclops piercing him in the eye with a hot stick. Then I entered a maze that had a Minotaur which I killed by a random fight: every time I typed "ATTACK", either I would miss or hit, the same for the poor creature. After a few hits, I died. Tried again, died. Third time, Minotaur falls. Urray! I gain nothing with the slaughter and succeed in exiting the maze. Kills: 2. Context: 0. I give up.
For the Love of Ornery Blue Yaks, by Doug Jones
As with the preceding entry, I'll start with the conclusions and then go on to the As I Play notes.
All things considered...
A minimal introduction sends you off to explore a minimally described cliché-house that is a portal to a minimally described cliché-forest with cliché-creatures and no story.
[+] It has a maze. And a forest.
[-] No context and no strong concept. We start by exploring an old house with very sparse description and many non-important things. Then we enter a wardrobe and off we go to a magical forest with magical creatures, like a Cyclops and a Minotaur. All very un-original. The text is poorly written and formated (some lines juxtapose, some paragraphs should be there and are not, etc.)
So, how bad do I want to play the full game?
Well, I gave up in the intro itself, so you should be able to guess the answer.
And now let's see how the playing went:
[1] I'm off to discover the mysteries of an abandoned house, which, along with the player, owes very little to the efforts of context or description. It's a house. He is a player. The house has mysteries that some friends told him about. The player looks "about the same as always", only he has a backpack.
[2] Entering the house gives me a "nicely decorated" hallway that has absolutely nothing to look at. It's like a nicely painted blank canvas that has all the art in it, or a white piece of paper which encloses all the letters in the world. The cellar is empty, only cobwebs, but "the cobwebs is not important"; the kitchen has some old food that "is not important"; the living room has sofas and chairs that "is not important". Whatever I do to anything gives me a "is not important" negative reply. Well, last stop: the bedroom. It has a nightstand by the bed. I'll surely want to examine that nightstand:
>X NIGHTSTAND
The nightstand sits by the bed.
Hmm... ok.
[3] The description of the bedroom also tells me that "the only piece of furniture is a big wardrobe", so I'm guessing the bed and the nightstand are in my imagination. I like this sort of concept. It's a Lynchian world, where the object and the idea of the object blend in a world of darkness and confusion.
[4] The Lynchian world proceeds and my head aches! I don't know if this is a bug or a feature, I don't know if the "old school" games wrapped the players in such, so bear with my ignorance if you will. The wardrobe turned out to be a magical entrance to a forest, in which one gets lost. North and then South won't return me to the same location; East and then West and then East again an then West again made me travel through four different places. Well, I like to travel to be honest, I'll be driving in Bosnia this year! Urray! I'll visit Sarajevo and Mostar and I'll also have a swim in the Adriatic sea. Oh, such days never hurry enough, do they? The planes of... oh, the game. Sure. Well, in the last West turn I found myself bloated in the head by a Cylops who wants to cook me and eat me. Speaking of which: I'm off to make myself a sandwich.
[5] Ok, so I stopped playing the game. I killed the Cyclops piercing him in the eye with a hot stick. Then I entered a maze that had a Minotaur which I killed by a random fight: every time I typed "ATTACK", either I would miss or hit, the same for the poor creature. After a few hits, I died. Tried again, died. Third time, Minotaur falls. Urray! I gain nothing with the slaughter and succeed in exiting the maze. Kills: 2. Context: 0. I give up.
Off to my second IntroComp game.
Right before clicking the publish button, I decided to invert things: first you'll find my final thoughts on the game, spoiler free, and then the thoughts and insults I wrote while playing the game, spoiler heavy.
Waker, by Kevin Jackson
Wrapping it up...
[+] The idea of a museum that throws the visitors into a simulation of (fictional) historic events is a good one and should be explored.
[-] The implementation is very poor. Most of the objects inside the descriptions aren't there. Also the game always pushes you into a given direction without actually going for the trouble of making it feel necessary, and I dislike this kind of forced guidance in a game.
Al in all, it doesn't feel as this is a finished intro to an unfinished game; only a (very early) sketch of a game.
So, how bad do I want to play the full game?
Only a tiny tiny bit, and that's because I liked the simulation concept.
Playing the game and eating:
[1] It's a museum. I'll be exploring a museum. Exploring a museum with lots of stuff. Result: I want to stop playing already! Calm down. Sit. Maybe the author will spice things up in the next few turns.
[2] In it's first lines, the text promises a world of exploration, but the gameplay has a different agenda:
> X STATUE
This life-size statue of a person appears to be made of wax. It is of a bald, fat man on the far side of middle age, and it is wearing a plain robe and
slippers. It is standing on a pedestal and is motionless, although it appears to be built to allow its head to swivel. The pedestal has a large red button on
it.
>X ROBE
You can’t see any such thing.
>X SLIPPERS
You can’t see any such thing.
>X HEAD
You can’t see any such thing.
>TOUCH WAX
You can’t see any such thing.
>KICK THE SHIT OUT OF THE STATUE
Violence isn’t the answer to this one.
(Oh... but it will be! Oh yes it will! Ah Ah Ah! AH AH AH! AHAHAHAHAHAHAHAHAHAH!!!)
[3] Hmmm... I can't ignore the statue, it seems. I can't also go to other parts of the museum because... I don't want to? Let us examine the diorama: "you find yourself unable to concentrate on it with that fascinating statue". I'm actually more interested in the diorama. Why won't you let me be interested in the diorama? You are so much like my father! Curse you!
[4] Well, well: we have a twist.
By looking at the weird box, I ended up in another game, a game from the Museum itself. It even mimics the beginning of any IF game. Smart. Ok, I'm slightly more interested. Let's see where this goes.
[5] Before exploring this kind-of-nice twist, I decided to restart and push things around to see where it breaks - I just love bugs.
Here's a fun one: If I try to examine the box right at the beginning (when the player doesn't even know it exists), I'll be rewarded with it's description nonetheless, even without pushing the button that activates the statue and switches the light on. Also: if I examine it two times, I'll end up with the text that mentions the statue's speech and enter the Museum's Game.
[6] Inside the diorama I have another forced set of actions. I have to wake the God-King, but before I do that I can't explore anything. All of my actions give me a "you have to awake the God-King first" response - but I want to fail, yes I do, I have no need for success! Why won't the powers that be let me fail? If it's urgent, then why can I just stay here and wait all the time I want? You let me sit on my lap forever, but you won't let me peek inside the wardrobe - you're just beeing mean to me!
[7] As for the puzzle itself, I kicked it in - literally. The God-King is protected by a code that I'll have to insert into a keypad (this seems to be set in the past, but they have keypads for some reason). Here I am, trying to push random numbers into it, which always fails, of course. Then, just for fun, I typed "kick the keypad" - and it worked! The chamber actually opened. So now you know: go to a bank and take a small hammer to smash the keypad.
[8] Anyway, now that I've awakened the God-King, maybe I can do a little exploration, right? Well, no: kicking the keypad in kicks my own self out of the diorama and back into the museum. Well, at least now I can go to other part of the museum to check it out. Let's see: the exhibit goes on to the north.
>N
THE END
That’s all for now.
*** You have won ***
Err... what?
(Next game from the random-game-chooser machine: For the Love of Ornery Blue Yak, by Doug Jones)
Right before clicking the publish button, I decided to invert things: first you'll find my final thoughts on the game, spoiler free, and then the thoughts and insults I wrote while playing the game, spoiler heavy.
Waker, by Kevin Jackson
Wrapping it up...
[+] The idea of a museum that throws the visitors into a simulation of (fictional) historic events is a good one and should be explored.
[-] The implementation is very poor. Most of the objects inside the descriptions aren't there. Also the game always pushes you into a given direction without actually going for the trouble of making it feel necessary, and I dislike this kind of forced guidance in a game.
Al in all, it doesn't feel as this is a finished intro to an unfinished game; only a (very early) sketch of a game.
So, how bad do I want to play the full game?
Only a tiny tiny bit, and that's because I liked the simulation concept.
Playing the game and eating:
[1] It's a museum. I'll be exploring a museum. Exploring a museum with lots of stuff. Result: I want to stop playing already! Calm down. Sit. Maybe the author will spice things up in the next few turns.
[2] In it's first lines, the text promises a world of exploration, but the gameplay has a different agenda:
> X STATUE
This life-size statue of a person appears to be made of wax. It is of a bald, fat man on the far side of middle age, and it is wearing a plain robe and
slippers. It is standing on a pedestal and is motionless, although it appears to be built to allow its head to swivel. The pedestal has a large red button on
it.
>X ROBE
You can’t see any such thing.
>X SLIPPERS
You can’t see any such thing.
>X HEAD
You can’t see any such thing.
>TOUCH WAX
You can’t see any such thing.
>KICK THE SHIT OUT OF THE STATUE
Violence isn’t the answer to this one.
(Oh... but it will be! Oh yes it will! Ah Ah Ah! AH AH AH! AHAHAHAHAHAHAHAHAHAH!!!)
[3] Hmmm... I can't ignore the statue, it seems. I can't also go to other parts of the museum because... I don't want to? Let us examine the diorama: "you find yourself unable to concentrate on it with that fascinating statue". I'm actually more interested in the diorama. Why won't you let me be interested in the diorama? You are so much like my father! Curse you!
[4] Well, well: we have a twist.
By looking at the weird box, I ended up in another game, a game from the Museum itself. It even mimics the beginning of any IF game. Smart. Ok, I'm slightly more interested. Let's see where this goes.
[5] Before exploring this kind-of-nice twist, I decided to restart and push things around to see where it breaks - I just love bugs.
Here's a fun one: If I try to examine the box right at the beginning (when the player doesn't even know it exists), I'll be rewarded with it's description nonetheless, even without pushing the button that activates the statue and switches the light on. Also: if I examine it two times, I'll end up with the text that mentions the statue's speech and enter the Museum's Game.
[6] Inside the diorama I have another forced set of actions. I have to wake the God-King, but before I do that I can't explore anything. All of my actions give me a "you have to awake the God-King first" response - but I want to fail, yes I do, I have no need for success! Why won't the powers that be let me fail? If it's urgent, then why can I just stay here and wait all the time I want? You let me sit on my lap forever, but you won't let me peek inside the wardrobe - you're just beeing mean to me!
[7] As for the puzzle itself, I kicked it in - literally. The God-King is protected by a code that I'll have to insert into a keypad (this seems to be set in the past, but they have keypads for some reason). Here I am, trying to push random numbers into it, which always fails, of course. Then, just for fun, I typed "kick the keypad" - and it worked! The chamber actually opened. So now you know: go to a bank and take a small hammer to smash the keypad.
[8] Anyway, now that I've awakened the God-King, maybe I can do a little exploration, right? Well, no: kicking the keypad in kicks my own self out of the diorama and back into the museum. Well, at least now I can go to other part of the museum to check it out. Let's see: the exhibit goes on to the north.
>N
THE END
That’s all for now.
*** You have won ***
Err... what?
(Next game from the random-game-chooser machine: For the Love of Ornery Blue Yak, by Doug Jones)
So I decided to play some of the entries in this year's IntroComp. I've also decided to write a few lines as I play along. Kind of a review. I never reviewed anything in my life. Well, maybe just the choice for a kind of soup in a dinner party once (that wasn't nice), and the dress that a friend of mine brought to a wedding (she never called back); but apart from that, not one thing, not one thing at all.
IntroComp is an Interactive Fiction competition for Introductions to games. It was created by Jacqueline A. Lott. Hands down to such a neat concept! I'm a movie trailer addict, by the way, so I I'll be liking this.
The first one I picked up from this year's bunch was Iain Merrick's Tourist Trap. A random choice, of course, or not so random, since the brain is - I heard - incapable of such . For my next choice I'll give each entry a number and have my TexasInstruments 81 (or something) give me a random output. I'm all for fairness, actually.
So, let us see how well I play this thing.
[oh... by the way, it will contain spoilers, but it's an Intro; how much spoiled can it get?]
Tourist Trap, by Iain Merrick
[1] Oh, Paris. A Paris start is a good start. Mainly when I'm in an... Élevé? What a... Well, I'll have to admit I'm a sucker for very big passages over very big cities. They remind me of an old adventure game called Universe. And of Halo. But I liked Universe better. I was younger. Back to the Élevé. A girl is with me, Emma, a hipsterish gall. I'm a sucker for hipsterish galls. Have you ever heard Pamplamoose? So lovely. A gentlemen is in front of me. Let's talk, shall we?
[2] Well, the conversation with that gentlemen went smooth, very smooth indeed, as smooth as a baby's bottom: I hardly had to do anything at all. Most of the time I had only one option on the dialog, which kind of seemed that I was just pressing any key to continue. There was also no obvious consequence or lost of information in any of the choices, since I was able to go through all of the options given the first time around.
[3] So I restarted it and tried not to talk to the gentlemen, to see what happens. Tough luck: Emma jumped to the dialog and I got (almost) all of the info I got from him myself.
[4] So I'm a Time Tourist! Cool. And there will be Time Customs! Even cooler! And I can't disrupt the fabric of time and space, otherwise... fashion will be off by a century and shrinks from the future will have to be sent? What the hell?
[5] Ok, so the gentlemen is off the Élevé and Emma thinks he was a such a crazy character. Giving the context, I actually found the old man very sane.
[6] Now is our turn to exit the amazing vehicle and the intro ends. I get to read a message from the author, saying that the full game will be like this and like that, but sadly, although the premise is neat and the writing is fine - very formal, but fine - we never get to feel how the game is going to be. The voice of the author promises great chunks of culture and adventure in Old Paris, but the intro itself doesn't really give a scent of such chunks.
Jacqueline wants the voters to vote having this question in mind: How bad do you want to play the full game after this?
So, how bad do I want to play the full game?
I'm not going to loose any sleep over it, but I'm curious as what is to become of this, yes I am, although it striked me as potentially boring and over-the-top descriptive.
[+] The concept of time tourism, as it was presented, was interesting.
[-] The one option dialog was a turn down.
As for voting: I guess I'll wait until I've played some more before I do that. All for fairness, all for fairness indeed.
(TI 81 told me just now that my next pick will be Waker, by Kevin Jackson Mead)
IntroComp is an Interactive Fiction competition for Introductions to games. It was created by Jacqueline A. Lott. Hands down to such a neat concept! I'm a movie trailer addict, by the way, so I I'll be liking this.
The first one I picked up from this year's bunch was Iain Merrick's Tourist Trap. A random choice, of course, or not so random, since the brain is - I heard - incapable of such . For my next choice I'll give each entry a number and have my TexasInstruments 81 (or something) give me a random output. I'm all for fairness, actually.
So, let us see how well I play this thing.
[oh... by the way, it will contain spoilers, but it's an Intro; how much spoiled can it get?]
Tourist Trap, by Iain Merrick
[1] Oh, Paris. A Paris start is a good start. Mainly when I'm in an... Élevé? What a... Well, I'll have to admit I'm a sucker for very big passages over very big cities. They remind me of an old adventure game called Universe. And of Halo. But I liked Universe better. I was younger. Back to the Élevé. A girl is with me, Emma, a hipsterish gall. I'm a sucker for hipsterish galls. Have you ever heard Pamplamoose? So lovely. A gentlemen is in front of me. Let's talk, shall we?
[2] Well, the conversation with that gentlemen went smooth, very smooth indeed, as smooth as a baby's bottom: I hardly had to do anything at all. Most of the time I had only one option on the dialog, which kind of seemed that I was just pressing any key to continue. There was also no obvious consequence or lost of information in any of the choices, since I was able to go through all of the options given the first time around.
[3] So I restarted it and tried not to talk to the gentlemen, to see what happens. Tough luck: Emma jumped to the dialog and I got (almost) all of the info I got from him myself.
[4] So I'm a Time Tourist! Cool. And there will be Time Customs! Even cooler! And I can't disrupt the fabric of time and space, otherwise... fashion will be off by a century and shrinks from the future will have to be sent? What the hell?
[5] Ok, so the gentlemen is off the Élevé and Emma thinks he was a such a crazy character. Giving the context, I actually found the old man very sane.
[6] Now is our turn to exit the amazing vehicle and the intro ends. I get to read a message from the author, saying that the full game will be like this and like that, but sadly, although the premise is neat and the writing is fine - very formal, but fine - we never get to feel how the game is going to be. The voice of the author promises great chunks of culture and adventure in Old Paris, but the intro itself doesn't really give a scent of such chunks.
Jacqueline wants the voters to vote having this question in mind: How bad do you want to play the full game after this?
So, how bad do I want to play the full game?
I'm not going to loose any sleep over it, but I'm curious as what is to become of this, yes I am, although it striked me as potentially boring and over-the-top descriptive.
[+] The concept of time tourism, as it was presented, was interesting.
[-] The one option dialog was a turn down.
As for voting: I guess I'll wait until I've played some more before I do that. All for fairness, all for fairness indeed.
(TI 81 told me just now that my next pick will be Waker, by Kevin Jackson Mead)
I thought of giving my first post a more first-post look, but to hell with it.
Today I worked a bit on a tutorial game to introduce IF games to non-IF players. The idea was to create a game that could be called inside another game if a player was a first-timer. I don't know if this is going to work, but I'm going to propose it to the IF community anyway. Well, not the game, but the idea: maybe they, has a community, will change and enhance the file so it can be better and usable by many people.
The game's name is Hotel Tutorial, but beeing an open-source game it can change at any time. Check the files in the IF Works tab.
Thanks for all the feedback.
Today I worked a bit on a tutorial game to introduce IF games to non-IF players. The idea was to create a game that could be called inside another game if a player was a first-timer. I don't know if this is going to work, but I'm going to propose it to the IF community anyway. Well, not the game, but the idea: maybe they, has a community, will change and enhance the file so it can be better and usable by many people.
The game's name is Hotel Tutorial, but beeing an open-source game it can change at any time. Check the files in the IF Works tab.
Thanks for all the feedback.