Archive for category Computer

IFComp 2011: The Binary

Two web-based games in a row!  I’ll have to go over the list of games and figure out how many more of these there are.  This one is The Binary, which is set up as kind of a Quantum Leap meets Groundhog Day thing, mixed with some of the Bourne movies and maybe a dash of Minority Report for that PKD dystopian futility.

It uses a custom Javascript engine that is pretty interesting, so let’s check it out!

Spoilers after the break…

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IFComp 2011: The Play

Next up is The Play, an Undum piece by Deirdre Kiai, an indie game developer.  This is the first CYOA-style game I’ve played this Comp, and I must say that the Undum framework — at least the way she’s got it set up — is very, very nice-looking.  The Play apparently deals with a down-on-her-luck theater director trying to put together a shoestring performance of “All’s Fair in Love, War, and Art”, with a cast and crew that are going to require something more than a standard rehearsal to make the performance a success.  Sounds fun!

Spoilers after the break…

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IFComp 2011: Professor Frank

Let me be frank about Professor Frank.  I can’t tell whether this is a troll entry or not.  It’s not a good game.  This is not a spoiler, because you will know it’s going to be not good from pretty much the millisecond you load it.  The game also knows it’s not good, and references that fact during gameplay.  Is it being self-deprecating, being wacky-silly, or taunting the player?  I suspect the latter, but… I can’t tell for sure.

I’m beginning to see the point of Emily Short’s refusal to play Comp games that are not betatested.  I’m trying to give every game a shot and give all authors the benefit of the doubt, but Professor Frank is putting that resolution to the test.

Spoilers (such as they are) are after the break…

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IFComp 2011: Escape From Santaland

It’s nearing Christmas, you’ve got last-minute guests, and you’re trying get get the heck out of the mall and get back home.  Unfortunately, the exit is somewhere beyond the commercial kinderpurgatory known as…

Santaland.

This is the first game I’ve played so far by a known veteran — in this case, Jason Ermer, author of 2006′s Moon-Shaped, a game that I have not played but which did well in the Comp and is highly-rated, so I’m looking forward to this one.

Spoilers after the break!

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IFComp 2011: Cold Iron

97k, written in Inform 7.  That’s a really small game.  And just judging from the well-written introduction I’d guess that we’re dealing with someone who’s done this before.  There’s a pretty sure hand on the narrative tiller, and yes!  Checking the CREDITS indicates that “Lyman Clive Charles” is a pseudonym.  It will be interesting to see if it’s possible to guess who the secret author really is.

The game starts you off in a hut — you’re a farmer who’s lost his axe and thinks that the piskies have run off with it.  So off you go into the woods to recover it…

Spoilers after the break!

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IFComp 2011: The Elfen Maiden

It is a truth universally acknowledged, that a straight, male, single geek in possession of a good job, must be in want of a girlfriend.

It is also a truth universally acknowledged that Elfen Maidens in the popular MMORPG Realms of Realmland are exclusively played by men, so setting up a real-world date with one isn’t likely to lead to a satisfying relationship for the aforementioned straight geek.

Unfortunately, it looks like Jason Watts, hapless exemplar of geekdom — and your owner — is in for such a date unless you, his faithful and long-suffering computer, can do something about it.

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So next up on the randomized list is The Elfen Maiden: A Comedy of Error Messages, by Adam Le Doux.  Adam is apparently another IF newbie, although a Google search turns up some interesting indie game development that would indicate he’s not starting off from ground zero.  The premise of Adam’s game sounds great, and the intro text does a pretty good job of letting us know what we’re in for: a lighthearted, reference-dropping farcical piece, focused on carrot-and-stick prodding of a hapless NPC.  Can’t wait!

Spoilers after the break…

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IFComp 2011: Cursed

Wow!  It’s IF season again, with 38 new games to get through in six short weeks.  This is going to be tough!  I’m going to try to get through all of them, and post reviews as I go.  We’ll see how far I get.  Assuming I’ve done it right, the spoilerish parts of the reviews should be below the cut.

So without ado, let’s randomize and see what we end up with…

OK, so in IF we now have both Curses!, the seminal Inform work by Graham Nelson, and also Cursed, an ADRIFT game by Australian newcomer Nick Rogers.  Based on my cursory web search, the only IF work Nick has publicly released previously was an ADRIFT conversion of the classic Adventure, so welcome to the IF world, Nick!

CREDITS is implemented and shows numerous beta testers, which is a good sign.  The game also has apparently been tested under both the standard ADRIFT Runner and SCARE, which is what I’m using.  That’s a pretty good early indicator that this isn’t going to be a half-baked effort.  The intro text is good in that it’s immediately trying to establish a character, less good in that it’s a bit overwrought for what a person condemned to die in an hour or so would likely be thinking.

Spoilers (some pretty major ones at the end) follow…

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Game Review: Achron

Achron

Developer:  Hazardous Software

Rating:  4/5

Bottom Line:  Achron is a groundbreaking RTS with unique and interesting gameplay mechanics and an extensive campaign, but the lack of modern RTS conveniences hampers the experience to a significant degree.  I can highly recommend this as an experiment, and as an experience, but not as a finished, polished game worth the price.

Introduction and Conceptual Overview

Back in the mid ’90s, a friend of mine and I had a number of conversations about game design.  A lot of ideas got thrown around, but I had two that I thought were particularly good.  The first was for an RTS-style game where you recruited troops, but didn’t actually directly control them.  They would roam around, controlled by their own AI tropisms, and find things to accomplish, gaining skill all the while.

Something very similar to what I had envisioned was produced a couple of years later:  Majesty.

My second idea was for an RTS that involved time travel.  The player would be able to call reinforcements to them from further up the timeline.  This would provide a quick burst of fresh troops, but a matching amount of troops would have to be built and positioned properly in the future in order to jump back.  Failure to do so would cause “paradox storms”, which would inflict increasing amounts of damage to the player based on the magnitude of the temporal imbalance.  I particularly liked this idea because (I thought) it would provide interesting counters to rush strategies — you could focus on economy, block an initial rush with up-time reinforcements, and end up with a substantial production edge over a more militaristic player.

Although it doesn’t map exactly onto my simplistic original idea, an RTS game based around time travel mechanics has just been released:  Achron.  And it’s a fascinating, if flawed, game.

In Achron, you, as the leader of your forces, sit outside the timestream.  Through the “timeline” user interface feature (easily the best-designed portion of the UI) you have access to time periods from about 4 minutes prior to the game’s “present” to 1 minute in the future.  It’s very much like a minimap, but for time rather than space.  At any given time you can click at a point on the timeline and the game will instantly snap to what was happening at that time.  But that’s certainly not all.  You can also issue commands to units in the past or future, at the cost of “chronoenergy”, a resource that is achronal (that is, uncoupled to in-game causality) and which regenerates at a fixed rate in real time.

The upshot is that you can not only observe the past, you can change it.  If you fight a battle and lose, you could jump to a period of time before the battle began and redeploy your forces, or even disengage and move elsewhere.  In multiplayer games, there could be up to 3 other players also manipulating the timestream in this way, so you can see that it could get very complicated very quickly.  If I jump back a minute and tell my forces to take the left fork rather than the right fork, you might jump back a minute and a half and redeploy your forces to again cut me off.  As long as the chronoenergy holds out, there’s no hard limits to what can be done.

The game handles the results of this time manipulation through an ingenious, if imperfect, mechanism:  time waves.  The game cannot instantly propagate changes you make throughout the entire timeframe of the game in real time; that would be computationally prohibitive.  Instead the game uses periodic “waves” of causality that propagate up through the timestream at a fixed rate (about 3 times the normal rate that time passes).  As a time wave advances up the timeline, the game modifies history according to any changes that have been put in play.

This leads to interesting effects when a time wave catches up to whenever you happen to be observing on the timeline — if someone has made a change to the past, your units may move, shift position, or disappear as a result of the changes.  It can be very disconcerting to have the rug yanked out from under you and your forces defeated somewhere in the past.

The limit to all this temporal manipulation is the fact that the farther back in time you go, the more chronoenergy you use to issue commands.  At some point in the past, the energy required to issue a command is greater than the maximum chronoenergy you can accumulate.  That point is the threshold of the “unplayable past”.  Points previous to this may be visible, but can’t be further changed.

But the time travel mechanic isn’t limited to issuing orders in the past and future.  It’s also possible (with the correct technology) to “chronoport” units through time.  Send a squad of tanks three minutes into the past, and you now have additional forces earlier in the game’s timeline.

Time travel inevitably leads to time travel paradoxes, and the game’s time wave mechanic provides a means, albeit imperfect, to resolve them.  The “grandfather paradox”, where a unit travels back in time to before it was created and kills the building that produced it, is pretty trivial to set up in Achron.  The way this plays out in the game is that successive time waves alternate between states of the paradox.  On one pass, the building will be present with no unit.  On the next, the unit will be present with no building.  Whichever state obtains when the event falls off the “past end” of the timeline is locked in as the permanent state.  As you can no doubt imagine, all sorts of weird abuses are possible with these temporal tools.

It’s worth pausing here a moment to, well, bask in the glow of the amazing time travel mechanics Achron implements.  Mostly because when I get into the details of how the game is constructed, that glow will fade quickly.  So let’s take a moment to acknowledge the genius design and tremendous work behind Achron‘s temporal mechanics….

Ready?  OK, on with the review.

Single-Player

The single-player campaign is extensive, consisting of four parts:  one for each race and one final campaign (that I haven’t gotten to yet).  Most of the early levels are devoted to teaching you basic RTS skills, followed by the temporal mechanics.  There is a fairly detailed, serviceable backstory, involving a coordinated alien assault against human colonies.  You are alternately playing either one of the human commanders or his suspiciously-powerful AI, while political infighting, treachery, alien slavery, and the sordid history of the human military’s relationship with AI entities provides the dramatic motivation.

The missions move pretty slowly if you’re used to a standard RTS like Starcraft 2.  In addition, the missions are a bit different than RTS standard.  For one thing, they’re a lot more finicky; you must almost always keep certain units alive, which can be quite difficult at times.  This isn’t as bad as it could be, however, as if they die you can simply jump back in time and change history to ensure they survive.  If you fail repeatedly, however, the escalating cost in chronoenergy can make it more and more difficult to retry as you are forced farther back on the timeline, and losing due to an event receding into the unplayable past after multiple failures can be incredibly frustrating.

Multiplayer and Skirmish

I’ve played very little in the way of multiplayer — a couple of skirmish games.  But I’ve seen enough to show me that multiplayer Achron is a different beast than the single-player campaign.  First of all, you’re always playing against an opponent who can counter your temporal maneuvering, which is very fun.  Several times I started firing on an enemy unit only to watch a time wave go by and the enemy unit disappear, presumably rerouted at an earlier point.  Several interesting strategies are possible in Achron that are not possible in other RTS games, such as a “race-switch”:  since your faction choice is selected in-game, it’s possible to jump back in time and select a different starting race, potentially throwing off early scouting by your opponent.

There are three races in Achron, roughly analogous to the three races of Starcraft.  The humans have the best firepower, the Vecgir have integrated teleportation in their vehicles, and the Grekim have an inherent chronoportation ability (albeit one that costs so much that it’s not as useful as it sounds at first).  Their tech trees are somewhat different, but the units each faction has, when boiled down to essentials, are very similar.

Unfortunately, the victory conditions can be somewhat of a trial.  I don’t know if it’s the only way to win in a multiplayer game, but in my skirmishes you had to completely eliminate the enemy forces and production facilities at the earliest point on the timeline.  When playing the computer, this meant that I had to kill everything I could find, and then sit around for five minutes while the timeline scrolled those deaths off into the past.  I started messing around with chronoportation to kill time, until finally receiving the “game won!” notification.  A human opponent would likely concede, but a griefer could tie you up for quite a bit longer in Achron than in something like Starcraft 2.

The AI itself doesn’t seem too strong, even for someone of my modest skills, but I’m not sure I’m playing at it’s highest level.

Production Values

This is where Achron‘s conceptual brilliance most obviously yields to muddled execution.  Sound in the game is generally good — the effects are fine, the voice acting for some characters is a bit over-the-top but not annoyingly so, and the music is quite nice.  Unfortunately, the same cannot be said for the graphics.  Units are rather generic and hard to tell apart, animation is sparse at best leading to a poor sense of responsiveness from the controls, and the cutscenes, although they do their job in terms of communicating the setting and backstory, look really crude, even for an indie game.  Maps are bland and drab, and do nothing in terms of establishing a sense of place.  A complete reskin would be a great fan project, and would do wonders to improve the game.

This is, of course, an indie game, but one with a split personality.  Achron costs $30, well above the standard amount for an indie title.  Even though you get two game keys for this price, it’s still steep for an indie impulse purchase.  On the other hand, it’s got a lot of content and obviously aspires to cover all the bases of a full-fledged, major-release RTS.  By indie standards the production values are acceptable, but the price is high.  By the standards of major releases, the price is great but the production values are really weak.  Trying to straddle this line has resulted in a game that doesn’t really fit in either world, unfortunately.

One overall mitigating factor I should mention is that the game is designed with moddability in mind.  Undoubtedly, over time, mods will be released to tune up the maps and models and give Achron the graphical polish it deserves.

Mechanics

Compared to a AAA+ title like Starcraft 2, it would be unrealistic to expect that Achron would be able to compete on fluidity of mechanics.  But even given a lower level of expectation, there are a number of mechanical and interface features that Achron implements really badly.

Pathfinding and unit movement is deficient on a number of levels.  Although I believe the pathfinding algorithm is close to where it needs to be, there are still some spectacular failures from time to time.  Exacerbating the problem is the fact that units won’t shift to let allies through their position, which causes huge pile-ups that have to be resolved manually — potentially at a high cost in chronoenergy (hint: play Vecgir.  Built-in teleportation means you can avoid most of these problems).  Most maps don’t have very many obstacles, and teleportation is used by two of the three races as a key movement mechanic.  Both of these factors help, but wrestling individual units to get them to walk across the map is the antithesis of fun.

The other major mechanical problem is in the implementation of group command and organization in different time periods.  The game assumes that when you issue an order to a unit in the past, that you mean to add that order to the unit’s existing queue, leaving later orders intact.  In a few cases this might be correct — if you jump back and tell your unit to cloak, for instance, you may still want it to move, fight, etc. like you will order it to later in the timeline.  But in a large — very large — subset of cases, you want to completely override previous orders (such as when you decide that attack-moving into your enemy’s base wasn’t such a good idea after all).  In such cases, you either have to issue a “cancel orders” command before issuing the new command, or watch your units follow your new order for a while only to reverse and start heading back the other way when the timeline catches up to the original order.

Achron‘s system is flexible, yes.  It covers all situations, but it’s clunky and adds annoying micromanagement to what should be the most fun part of the game.  Similarly, chronoportation has a number of limitations that make it hard to use properly.  Normally giving a command to a group leader will cause subordinate units to follow along.  This is not true with chronoportation, however.  To chronoport, each unit must be explicitly given the order to chronoport.  This is generally not a problem, unless you forget and just order your group leader to time travel, in which case you’ll watch him head off solo, leaving his bewildered subordinates behind.  Once you fire off a chronoport (regardless of the number of units involved), the ‘porter has to recharge, which means you either need to wait to send the rest of the units, or back up time, clear the original order, select all the units, and re-chronoport (if you have enough chronoenergy to pull off the retroactive command).  Again, it kludges up the fun part of the game.  I’m sure the reason for doing this was to close off some weird paradoxical exploit, but it’s still frustrating.

Other, more standard mechanics are implemented well.  There’s unit production queuing, order queuing, a form of hierarchical grouping (actually pretty sophisticated), hotkey control groups, and pretty much all the basic RTS interface conveniences are in place and function as expected.

Gameplay

Balance seems fairly straightforward, since the three factions are very similar in terms of the capability of their units, and I didn’t notice one side feeling particularly overpowered compared to another (although Vecgir teleportation, as mentioned earlier, is very handy).  Generally technology research costs way more than production facilities or units.  Unfortunately, I don’t have enough of a feel at present as to whether rush tactics are viable or if the game requires a more economic opening strategy.  It did seem difficult to build up a quick rush, but that might just be my ignorance of proper strategy.

The real gameplay sophistication comes from time manipulation, of course.  The Achron wiki reads like a cross between a quantum mechanics textbook and a medieval grimoire, with page after page of detailed analysis on the intricacies of various time travel strategies, including one ritual designed to permanently clone units that’s effectively a NOT logic gate capable of sending information to the past.

In general units tend to move pretty slowly on the map, although you can always put the game into fast-forward to make the units move more quickly.  If you get ambushed when speeding through things, you can always jump backwards and take care of the problem.  And really, for a game where you control time, it does seem like you spend a lot of time just waiting for time waves to propagate and the resultant stuff to happen.  Again, this could just be my low skill level….

Conclusion

Although there are a lot of aspects of the game that fall short of perfection, Achron is absolutely unique in what it does.  No other game has tried anything as ambitious as a 4-way real time strategy game where any and all of the players can make changes at any point in the game’s timestream.  When you think about it, it’s just amazing that Dr. Hazard (the perfect name for a mad-scientist game developer) and his team managed to pull this off as well as they did.

With the benefit of hindsight, I wish they’d have scaled back the game, focusing on a more limited set of RTS features, and doubled down on the time travel.  Achron‘s hook is time travel — they would have been better served to go all in.  With a game that was more of an intriguing temporal puzzler, focused on using a few units rather than building bases, the concept could have more fully explored the ramifications of time travel, and not gotten bogged down in all the details of implementing a full RTS.

All that said, however, I really recommend you check out Achron.  Hazardous Software deserves kudos and support for making such an amazingly groundbreaking game, and even if Achron is not the absolute best RTS ever produced, it’s still well worth checking out to see what it’s all about.

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Conspicuous By My Absence

Curse you, time zones.  I’d meant to attend — planned to attend — the XYZZY awards for months.  As the date approached, we planned a trip out of town for the weekend of the ceremony, but that was OK because my oldest son had his last basketball game of the season on Saturday afternoon, and we were going to leave afterwards.  We were going to leave town at two, the ceremony started at noon — it was all good, right?

Wrong.  We needed to leave no later than two Central, and the ceremony started at noon Pacific.  Which is two Central.  So I’m very sorry I missed it, although it probably spared you having to read what would have been halting, unprepared acceptance speeches.

I’m both gratified and more than a little overwhelmed by the reception and support Aotearoa has received this year.  One of the most insightful descriptions I read in the many reviews this year was by Sarah Morayati, who said, in part: “This feels like a gift, both to his children and the adventures he remembers.”  It is.  That’s exactly what it is.

Like a lot of people in the community, especially those of us who won’t see 40 again, I have a long history with Infocom games, and many fond memories of hours spent playing those old titles.  Masterful, powerful games like Planetfall, A Mind Forever Voyaging, and Trinity taught me that computer games could be about far more than just joysticks and puzzles — that interactive fiction could tell a real, affecting story in a way that was, and still is, unique.  Infocom died right about the time that I went to college.  I thought the IF era was over.  It took me decades to rediscover the IF community and the new tools, but once I did, the old joy came back undimmed.

With Aotearoa, I started off wanting to write an adventure story for (and about) my oldest son — something simple and quick with lots of interesting, wacky animals and a plucky boy protagonist.  As I did research and planned the story, it changed and grew, became far more substantial, and took on a life of its own.  It’s the first time a story has just jerked itself out of my hands and started off in its own direction, and I’m so glad I decided to let go of the leash and just follow the story where it led.

One of the places it led me was to the Māori.  Once I had decided on “New Zealand with dinosaurs” as the setting of the story, I spent a lot of time researching the Māori language and culture.  I worked hard trying to do a good job of representing the Māori people in this story, and I think I did as well as I could.  But I’m not even a New Zealander, let alone a Māori, so there was no way I could actually get across a true Māori perspective.  After the game was released, I had a great email conversation with a New Zealand native who was kind enough to point me to some very good Māori-written fiction.  One in particular stands out as a phenomenal work of art.  If you, like me, have become fascinated with the history and culture of the Māori, I cannot recommend the book Potiki, by Patricia Grace, highly enough.  Written in a powerful, mythic, rhythmic style, Potiki follows an extended Māori family as they attempt to reclaim and hold onto their ancestral land, culture, and way of life.  It was a humbling experience to read this book and realize the gulf of culture, experience, and even perception between the West and the Māori, and then further to realize how deftly Patricia Grace bridges that gulf.

So what’s next?  For the past few months I’ve been taking a bit of a hiatus from development, playing Mass Effect 2 and Starcraft 2 (both excellent in their own ways, not to mention ridiculously addicting) and reading, but I’ve gotten back into the saddle and am starting IF development again.  I’ve recently released version 2 of Keywords for Conversation, the extension I wrote that ties together Aaron Reed’s Keyword Interface and Eric Eve’s Conversation Package.  I’ve converted Aotearoa to build 6G60 of Inform 7, and am working on the bug fixes and revisions for version 2 of it.  I’m also pulling out the tutorial mode code from Aotearoa and generalizing it into a separate extension, which will be released fairly shortly.

And of course, I’ve got games in the works.  I have too many ideas for the time I have available, but I’m hoping to release another shorter game this year, and I have a couple of long-form ideas in the planning stages.

I definitely want to thank everyone who participated in the IFComp this year.  I played every game (a first for me) and was really impressed with the high quality of this year’s games.  I was especially happy to be part of the fun and camaraderie on the authors’ forum.  Finally, huge thanks to everyone who beta tested, played, rated, reviewed, and voted for Aotearoa this year.  I’m happy I’ve been able to contribute this to the community, and thrilled to be an ongoing part of it!

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Review: Treasures of a Slaver’s Kingdom

Treasures of a Slaver’s Kingdom

Author:  S. John Ross

Rating:  5/5

Warning:  Mild spoilers.

I can see why this game is polarizing.  It’s got loads of randomized combat, which is a turn-off for some players.  It’s a pastiche of old-old-school imbalanced pen-and-paper RPGs, which may be confusing if you’ve never been a role-player.  It restricts available verbs to about a half-dozen, and the plot starts off as barely remixed Conan the Barbarian.

But under the covers, this is a fantastic game.  It’s tightly-implemented, bug-free as far as I could see, and takes full advantage of Inform technology to make the playing experience smooth and clean.  The writing, although it apes the breathless earnestness of early RPG modules, is chock full of hilarious descriptions.  Clever responses to unusual commands are liberally sprinkled throughout (try to PARLEY with your DUFFEL BAG, for instance).

This is definitely a game that benefits from sitting down and reading the documentation first.  And there’s plenty of it.  The distribution comes with a manual that details the alternate history the game ostensibly comes from, followed by the entire sourcebook for the fictitious Encounter Critical RPG that ToaSK is based upon, followed by encrypted clues.  Although you don’t have to read the documentation, the Encounter Critical RPG setting is the central structure for everything in the game, and understanding it will make some puzzles far more clear.  Also, for me, reading the documentation made the game far funnier as I was able to quickly pick out the references.

From a design perspective ToaSK is very interesting.  The decision to greatly limit the verbs obviously limits the potential actions the player can take, but doing that also helps the player get interesting responses more easily.  If there are only a few things you can do to a given object, it’s far easier to code meaningful text for all of them.  The result is a game that feels more fully implemented, even though it doesn’t have full physical modeling.  But who needs Inform’s physical modeling when you have “scientific realism”?

The other consequence of the restricted verb set is that it makes the player seem smarter.  It’s easier to figure out what items do when there are fewer interactions, and even brute-force repetition can work to reveal hidden puzzle solutions.  This type of design approach wouldn’t work for every game, but it certainly works here, and works well.

To counteract this, the parser breaks the fourth wall constantly and deliberately, and slings gratuitious insults for the slightest deviation in command input.  Fauxld English is used throughout (methinks this be, mayhaps, where Tiberius Thingamus got his inspiration).

There is, of course, no detailed conversation model.  And anyway, you’re a barbarian — sophisticated conversation would be wasted on you.  Your interactions with characters are limited to the same verb set as inanimate objects, but this still allows a surprising number of things you can do (try ENTERing characters, for example…).  And the choice to limit character interaction allows ToaSK to include many different interesting characters, from Gina the willing virgin sacrifice to the Viraxian Dark Gods, to the runecarved, peg-legged dwarf Gunwar.  And, of course, there’s Vessa, the Delicate Doxy, to whom you will be returning many times.

The game is fairly well paced via its combat leveling mechanic.  You’ll need to explore and solve puzzles to gain health points.  Gaining health points will enable you to fight more powerful enemies, which will get you more gear and items with which to solve more puzzles.  Most combats are potentially fatal, but multi-level UNDO works wonders to get you out of fights where you’re in over your head.

Overall impressions?  The world of Encounter Critical feels like a tall, cold Kitchen Sink made with bathtub gin.  Think of a handwritten mixture of Gamma World (the original edition, of course), Eldritch Wizardry, and Traveller, with some Star Trek, The Lord of the Rings, Star Wars, Dune, Sinbad the Sailor, Conan the Barbarian, and a Godzilla movie or two thrown in for flavor.  Add snark and sex, then overheat the writing to taste.

Until Christmas Eve, the full version of this game cost $6.95.  It’s well worth it at that price (and I paid it on December 23 after discovering it that day), but it’s since been released for free.  If you’ve only played the intro version, you haven’t seen anything.  Don’t miss the opportunity to play the full game, and experience one of the unsung masterpieces of modern retro IF.  Or is that retro modern?  Anyway, you should definitely, definitely play it.

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