Mrs. Wobbles and the Tangerine House: Book 2 (The Marino Family)

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The first episode of Mrs. Wobbles and the Tangerine House was an IFComp entry in 2013. (Here’s my review.) It is a choice-based Undum children’s story about a group of foster children who go to live in the home of the eponymous Mrs. Wobbles, and the whole story is being told through a magical book. Reading as an adult, one has a distinct sense of not being the target audience, most of all because of the slightly teasing tone the narrator adopts towards the reader.

This installment, Book 2, picks up with the children transported to a pirate land. We again have the framing narrative of a magic book, and then at one point Mildred (one of the children) can herself tell about a memory of hers, so the layers of story and other-reality get fairly thick.

As before, Book 2 is fairly linear, with just a few points of significant branching, and a few others in which you’re effectively picking the order of operations for doing a series of tasks that all have to be completed. And as before, the story incorporates ludicrous poetry, elaborate similes, and wordplay. A few examples that give a sense of the narrative tone:

The front was guarded by a big pirate henchman, who looked like he wanted to be anywhere but there, as if he were missing his favorite TV show and perhaps even his favorite episode of his favorite TV show.

…and when it comes to the way things work in the sort-of-make-believe, sort-of-true universe of the children:

‘Take this, then.’ And Mrs. Wobbles handed Mildred a giant rubber heart. ‘It’s a shield,’ said Mrs. Wobbles, ‘and an eraser.’

And there are quite handsome illustrations in a sort of woodcut style:

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Book 2 is not the end, either. There’s apparently meant to be at least one more in this series. All the same, Book 2 more or less stands alone, and it would be possible to read it knowing little more than I’ve just outlined.

To go into more detail about the story will require some spoilers, however.

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And the Robot Horse You Rode In On (Anna Anthropy), with some thoughts about Spider and Web

robothorseWriting about Videogames for Humans, Robert Yang noted some ways in which he found it a useful but not comprehensive guide to the games it covers. His review includes this passage:

Or when Cat Fitzpatrick plays Anna Anthropy’s “And The Robot Horse You Rode In On” (merely one of TWO lesbian westerns featured in this book!) and Fitzpatrick does not know, or does not care, that this is probably a remake of Andrew Plotkin’s “Spider and Web” except with sexy lady fighting instead of overly intricate Cold War futurism. With that background, you can read Anthropy’s changes and simplifications to the original plot device as an admonishment of the hardline parser-based interactive fiction establishment and their historic ambivalence about accepting Twine as interactive fiction. It’s as if she’s saying, “look, Twine can do what the canon parser IF does, and with less bullshit and more style.”

[Edited to add: Anna says Robot Horse is not a remake; see the comments section. I’ve left the original discussion here, but it’s worth having that fact up front.]

I’d never played And the Robot Horse You Rode In On, and it had somehow escaped my awareness among Anna Anthropy’s games, so when I read this blog post, I immediately went to try it out. And —

Yes, this is the same story; also, it is not at all the same story. The contrast throws both Anna’s and zarf’s work into such high relief that it makes me grin. In addition to which, Robot Horse is possibly my favorite of Anna’s Twine work that I’ve played so far.

But to talk about this I will have to spoil both games a lot. If you haven’t played Spider and Web and you’re planning to do so one day, you don’t want it spoiled before you play, trust me; if you haven’t played And the Robot Horse…, it’s short and you should probably go try it now. (Subject to the usual warnings: like a lot of Anna’s other work, it contains references to sexual activity, and while its primary intent is not pornographic, it may not be suitable for workplace reading. However, this discussion will not itself be unsafe for work.)

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Interactive Fiction Fund Titles

The Interactive Fiction Fund is a patron-supported initiative run by Javy Gwaltney to commission new works of interactive fiction each month. Because of the amount of funding and the timeframe, these tend to be short, choice-based pieces. Patrons get access to each new piece as it is finished, and the author then has the option of arranging to sell it on otherwise. If you too would like access to these when they’re published, though, you can sign up to the Patreon.

So far, there have been five IFF works, one for each month from January to May of 2015.

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Writing for Seltani, in general

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I’ve written a couple of blog posts (1, 2) about particular design decisions for Aspel, a multiplayer game I wrote for Andrew Plotkin’s Seltani platform. Those posts were mostly about how I structured puzzles and information around having multiple characters, touching occasionally on how Seltani’s possibilities and restrictions changed design decisions.

I have a few other thoughts about the platform more generally, about what it’s like to write for.

The overall gist: Seltani offers several obvious and several non-obvious features that made me feel like I was enjoying some of the advantages of Twine (hyperlinked text, the ability to dig deeper into system descriptions, relatively low time/effort cost for embellishing with new details) but had more systemic control. On the other hand, there are definitely some things that it can’t do, and some formatting choices that I understand but am still not crazy about.

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Lifeline (3 Minute Games)

lifeline-ios-02Lifeline is an iOS and Android mobile game in which you are fielding a distress call from someone named Taylor (gender never actually specified — I’ve seen some reviews refer to Taylor as male, but I pictured a woman). Taylor was the youngest, most naive crew member aboard a space ship that has crashed on a distant moon. They have no previous space experience and only the most rudimentary safety training. For some reason you are the only person in communication range, so they need you to prompt them through a series of survival decisions.

The story plays out in roughly SMS-sized messages from Taylor, which sometimes come in rapid succession and sometimes only after a substantial real-time delay. These exchanges are backed by atmospheric music, and though the actual content is quite bare-bones and without visuals, the presentation is glossy and solid.

Lifeline has also garnered reviews calling it the best game available for the Apple Watch — one of those statements that might feel like faint praise while still being quite important from a marketing perspective. As far as I can tell from here, Lifeline is another example of the success of commercial IF on mobile. (This Offworld article talks a bit about how the piece was actually prototyped in Twine.)

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Mystical Creatures: Hunting Unicorn (Chandler Groover); Iron Rabbit Encounter (Caeth)

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HUNTING UNICORN, Chandler Groover (play online). HUNTING UNICORN is the recasting of classic unicorn legends, the story of a poor and unattractive woman whose chief income comes from serving as unicorn-bait, drawing the animals out so that they can be captured by hunters. It often feels as though there is nothing she can do to improve her situation, and the story is in part about whether that is really true. The unicorn itself is a fearsome animal, not at all sparkles and rainbows, which can only be controlled via its own consent.

Groover’s authorial notes explain that one of his main aims is to make the player feel like it’s not necessary to replay, in contrast with forms that encourage lawnmowering all the possible endings. For me this partly worked and partly didn’t: when I got to the end I felt that I’d experienced an effective story with a good narrative arc. Certainly there was nothing that formally encouraged me to go looking for the other branches in order to understand the piece better.

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