Lifeline 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.)
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.
So I’m coming up on some travel, and — since this worked out really well last time I tried it — I’d love to have coffee with IF/interactive narrative/social AI/game writing folks. As I said then: if you’re in the area and you’d like to get together and talk — about that totally unfair review I gave your game five years ago, about possible collaborations, about your dreams for the future of interactive narrative, about whatever common interest leads you to read what I write in the first place — please do ping me and I’ll see what I can do.
Next weekend I’m going to Feral Vector, a playful games conference with a good IF presence. I’ll also be in Manchester the afternoon before (Thursday the 28th), if you want to meet up at a time that won’t conflict with all the cool activities during the conference itself.
After Feral Vector, I’m hurrying back to Oxford for the Oxford IF meetup. Several people have said they’re coming who aren’t currently on the sign-up sheet there — feel free to join us.
I’m going to be speaking at the ICCC conference in Park City, Utah, June 29-July 2. Thanks to the mysteries of international flight pricing, it was cheaper for me to stay on an extra day than to fly home right when the conference ends, so I’ll be around Salt Lake City on July 3 as well.
Finally: I’m going to be in Kuala Lumpur and Bangkok later in the summer. I rather suspect it’s a long shot that I have many readers there who might want to meet up, but the same invitation applies.
Tentacles Growing Everywhere is the story of three young tentacled aliens who are just transitioning into their lifeform’s version of puberty.
The primary mechanic is one of editing posts: each of the three protagonists keeps a blog, and you’re in the role of helping them write, sometimes deciding what to take out and what to leave in place — which puts this story in perhaps a very small genre with a few other interactive epistolary pieces. I happen to be quite fond of this form, which explores both what someone is thinking and what they’re willing to write down about their thoughts, and Tentacles uses it to good effect as the characters fuss over how their friends might interpret their adventures, whether it’s a good idea to give one another advice, and so on.
These interactive passages are interspersed with excerpts from a “helpful” guidebook to puberty, written in the same faux-casual voice so often employed for this purpose. Here’s its guidance about being bullied:
Overall the story is pretty linear: there are some choices to make, but I don’t have the impression that they have more than a local effect on the story (if there’s major branching available, I missed that fact). Even so, there’s a fair bit of text here — 77 pages, with your current page number clearly visible as you play. It’s a novella-sized interactive read, with each protagonist having their own plot arc, though they have a fair amount of interplay as well.
ShuffleComp is an interactive fiction comp in which participants send in lists of songs; the songs are shuffled and redistributed, and each participant writes a game based on one or more of the songs they received. (Last year’s competition yielded some 34 games and is responsible for not one but two games titled Fallout Shelter.)
Here are some favorites from this year’s comp:
This is Part 2 of a post-mortem series about my multiplayer Seltani game Aspel. Part 1 talked about things I omitted entirely from the design, and some things that I put in that didn’t work quite right. Part 2 talks about things that did work, and things that started out not working but that I think I improved over the iterations between tours.
These discussions are sort of implicitly a bit spoilery. You can decide how much that bothers you.