Goblins: Deduction vs. Abduction   4 comments

Alas, I have not quite finished yet. Perhaps this post will give a hint as to why. But first, a brief detour into Sherlock Holmes.

From the start of The Five Orange Pips by Arthur Conan Doyle:

When I glance over my notes and records of the Sherlock Holmes cases between the years ’82 and ’90, I am faced by so many which present strange and interesting features that it is no easy matter to know which to choose and which to leave. Some, however, have already gained publicity through the papers, and others have not offered a field for those peculiar qualities which my friend possessed in so high a degree, and which it is the object of these papers to illustrate. Some, too, have baffled his analytical skill, and would be, as narratives, beginnings without an ending, while others have been but partially cleared up, and have their explanations founded rather upon conjecture and surmise than on that absolute logical proof which was so dear to him.

Sherlock Holmes is oft-stated to always conclude things based on airtight deduction, having a set of facts whereupon to build a case where there can be no other conclusion. However, quite often the character relies on abduction, which instead a probability-based guess based on circumstances. Later, in the same story, a young man arrives:

“Give me your coat and umbrella,” said Holmes. “They may rest here on the hook and will be dry presently. You have come up from the south-west, I see.”

“Yes, from Horsham.”

“That clay and chalk mixture which I see upon your toe caps is quite distinctive.”

The supposition made here is most likely correct, but hardly the only possible one; perhaps the man stole the shoes from someone else who resided in the area. Still, Sherlock Holmes’s inference is the best explanation, likely enough that the reader doesn’t notice it’s not an “absolute logical proof” in the same manner as mathematically proving that 1 + 1 = 2.

To summarize: with deduction, we have fully known rules and circumstances that when together force some kind of conclusion. With abduction, we have circumstances where we have to infer the chain of events, but it’s a probabilistic guess.

By the treehouse where all the treasures are stored in Goblins there is an “old boot”. There is no more detail other than that.

After long frustration I ended up checking a “hint sheet” that was given with the game, and found this:

Submarine. The sub may be surfaced by waving the boot (which was originally fished from the sea) at the beach where the fish is carrying the welcome sign. Be sure to bring the compass when using the sub or all is lost!

I went to the place with the welcome sign …

… and found WAVE BOOT had no effect, nor did any other attempt at using a magical item. No, it turns out you have to be in the bay just north of this part of the beach, and then the action works.

This happens to be an unusually prominent spot for me to highlight an issue with adventure games. I feel like a lot of adventure game writers think they are writing puzzles which will be solved via the process of deduction, but the player needs to use abduction instead.

The author knew the boot was fished from the sea, but somehow failed to convey this fact. The author knew the nature of the boot’s magic. The author knew the boot’s magic could be activated via waving. The author knew the “royal entrance” was next to the sign, but not right at it. If given all those facts, it’s possible to logically conclude both that WAVE BOOT is the right action and where it should be done; without these facts, the player is instead using abduction. They can see the crime scene after the fact and can only make their best guess about what to do.

This isn’t necessarily a bad thing; a confirmed conclusion from abduction can be highly satisfying. However, it needs to be a most likely conclusion, not one plausible theory out of ten. Many authors are tentative about giving “excess hints” to a puzzle in a game, but they have to keep in mind the player is always working via abduction, and making a puzzle solution 10% more likely to be correct isn’t the same as “giving a puzzle away”.

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Posted January 11, 2019 by Jason Dyer in Interactive Fiction

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Text Games to Watch for in 2019   1 comment

I’ve probably left a few games out; I’ll leave this open for edits if anyone wants to chime in with candidates.

Choice of Games projects these releases for 2019:

Chronicon Apocalyptica: Copyedit. Releasing Jan 10? A 10th Century adventure; The X-Files meets The Name of the Rose, as you travel through England solving the mysteries of an ancient tome, and investigating myths while staving off conflict with Vikings. A sophomore outing from @r_davis, author of Broadway: 1849.
Untitled Superlatives Sequel: Beta. Picking up after the conclusion of The Superlatives: Aetherfall , you work for the Conclave, an interplanetary diplomatic force as you hunt down the mysterious assassin who killed your predecessor. By Alice Ripley.
Platinum Package: Draft revision. In the elite world of high net-worth individuals, someone has to make the impossible happen. By Emily Short.
Exile of the Gods: Draft review. A sequel to Champion of the Gods.
Drag Star: Draft revision. Make your costume, make your face, throw your shade…all to discover, who is the most fabulous drag star of them all?
Fool!: Draft revision. As a jester, you must make your way from the local fair to the court of the king. Put on your motley, tune your lute, and sharpen your wit: to be remembered as the greatest fool, you must put your competition to shame.
Astral Troopers: Draft revision. As a newly appointed sublieutenant of the Astral Corps, you must work to put down a rebellion on the remote planet of Cerberus.
Untitled Grand Academy for Future Villains Sequel: In progress. Picking up after the school-rending conclusion of Grand Academy, face a new school year, new enemies, of course your mom , and perhaps acquire a true villainous destiny.
The Darkling Watchers: In progress. The US Government employs the spirits of the dead as spies? Another mindbending outing by Paul Gresty, author of The ORPHEUS Ruse and MetaHuman, inc.
Pon Pará and the Great Southern Labyrinth: In progress. The first in a new trilogy by Kyle Marquis, author of Empyrean, Silverworld, and Tower Behind the Moon.
Social Services of the Damned: In progress. In a city overrun with trolls, demons, witches, vampires, werewolves, and other supernatural beings, someone has to handle the paperwork! You’re a social worker whose job is to mediate disputes and lay the occasional smack-down on uppity entities when they break the rules or endanger the human populace.
Six Months to Vesta Station: In progress. You’re the captain of a long-haul spaceship in the 24th century, and a wealthy man has paid triple your usual fee to carry him and his mysterious cargo with no questions asked. On the long voyage, navigate your crew’s personalities, interplanetary politics, the asteroid belt, and your ship’s resources as you uncover secrets and conspiracies.
The Esper Smugglers: In progress. As the captain of an airship, you must negotiate with and resist pirates and corporate forces seeking to exterminate the Esper race.
180 Files: The Aegis Project: Draft revision. Winner of the ChoiceScript Competition. As a spy, you must uncover a nefarious plot to destroy the world!
A Tale of Two Cranes: Draft revision. An epic saga of Three Kingdoms-era China. Second place winner of the ChoiceScript Competition.
Heroes of Myth: It’s easy being the most famous and powerful heroes in the world when evil has been vanquished and your cups are constantly full with other peoples’ wine. But when evil raises its ugly head once again, you’re forced to confront the fact that you’re a fraud that’s been grifting the realm for years. Maybe, just maybe, you’ll rise to the occasion.
Psy High: High Summer: A sequel to Psy High by @ladybird. How will use your powers of clairvoyance to make the best summer ever for the kids at a summer camp?

Solace State will likely be released in 2019.

… a 3D visual novel about a young hacker, Chloe, who comes to her political awakening as she seeks out her friends in a sci-fi surveillance society.

Sunless Skies from Failbetter Games comes out on January 31st.

Sunless Skies is a gothic horror roleplay game with a focus on exploration and exquisite storytelling.

The only thing between you and the waste-winds, storms and cosmic lightning is your engine. Tend and upgrade it, buy weaponry and exotic equipment, and keep her hull in good shape to hold the hostile Heavens at bay.

Blackout: The Darkest Night from MiniChimera is coming “early 2019”.

A Choose Your Own Adventure inspired by White Wolf’s World of Darkness, Twin Peaks and H.P. Lovecraft.

The legendary STEINS;GATE visual novel series returns on February 19th with STEINS;GATE ELITE.

STEINS;GATE ELITE follows a rag-tag band of tech-savvy young students who discover the means of changing the past via e-mail using a modified microwave. Their experiments in pushing the boundaries of time begin to spiral out of control as they become entangled in a conspiracy surrounding SERN, the organization behind the Large Hadron Collider, and John Titor, who claims to be from a dystopian future.

Cubus Games is planning on the 3rd game in their Heavy Metal Thunder series called Slaughter at Masada.

Slaughter at Masada takes place on Mars, a brutal warzone where three sides are vying for dominance. Masada has been under siege for three years, and to overcome despair the people trapped in Mount Olympus have embraced a deadly philosophy of WAR FOR THE SAKE OF WAR. They are surrounded by Invader berserkers – criminal psychopaths too dangerous to be trusted inside spaceships. And now the Black Lance Legion has arrived to break the siege and recruit the fighters of Masada – even against their will, if necessary.

Necrobarista is coming early 2019.

In a magical Melbourne cafe, the dead return for one last night and one last cup of coffee.

Pseudavid, who previously got 6th place in IFComp 2018 for The Master of the Land is working on The Good People:

A horror drama about climate, drowned villages and rural legends.

The developer thev1nce previously worked on a mobile game entitled Somewhere: the Vault Papers (trailer above) is working on a new project called Cloak and Data that “will deal with espionage and IT security.”

David Cornelson (previously of Textfyre, cover art from their release Shadow of the Cathedral above) is working on a new parser game called Zombie Salsa.

… a traditional parser-based puzzle fest with a side of horror and humor.

Posted January 9, 2019 by Jason Dyer in Interactive Fiction

Goblins: Everything is Magic   2 comments

With everything (mostly) mapped, it was time to tackle the puzzles. I got two from meta-thinking.

The first one involved an animation:

Now, this comes from early in the game – in fact, it was the first thing that happened to me – and I had just happened to have read the in-game instructions, which mention DUCK as a command. DUCK, in fact, works to avoid dying, and you can pick up the boomerang afterward.

This is entirely a visual puzzle. I found it mystifying at first just reacting to something displayed on screen as opposed to parsing text and thinking about it.

I later decided it would be a good idea to hunt for verbs, so I went through a big test list and came up with some the game seemed to accept:

CUT, DUCK, PUSH, OPEN, UNLOCK, CLIMB, READ, WEAR, DRINK, EAT, JUMP, THROW, GIVE, KNOCK, PLAY, RUB, WAVE, HIT, BREAK, KILL, SQUEEZE

If a verb isn’t recognized at all the game says “I CAN’T DO THAT”. If it is recognized it will either attempt the action (for a verb like DUCK) or say “TRY TWO WORDS – MAYBE”.

This list isn’t necessarily comprehensive, but it gave me a starting point. In particular, looking at the fact KNOCK worked, and remember there was a place later with a locked door, I tried KNOCK and it worked, netting me a treasure inside. (This was yet another meta-solve; not really the sort of thing that makes sense if we imagine the “real character” in the world trying to figure the problem out, just me leveraging the system of the game.)

Also, this was another purely visual room, with no text description or feedback that the action solved a puzzle other than the graphics changed.

Unfortunately, further progress required the “try everything on everything” strategy. Essentially, you have to assume everything is magic, and the magic will do nothing unless you are in the right place. For example, there’s a piece of cheese that says “VERY TASTY” if you eat it – fair enough, maybe there’s a mouse later or someone you can bribe? Apparently, though, the magic works if you’re next to a tiny hole …

… at which point eating the cheese shrinks you down and you can enter. Really, this wouldn’t be bad except for it not making any sense the cheese only working to shrink the player when near the hole. Alas, this game falls to the too-common error of letting magic do anything with no particular logic to it, so the player is just forced to experiment wildly.

Take, for example this puzzle:

Would you think to DROP LIME?

I guess there’s … some sort of vague pun involved, because there is lime in some cement, but that’s a totally different kind of lime than the one you eat, and you can otherwise treat the limes like normal limes. If you THROW LIME in an adjacent room, you can get by the quicksand without dying, and find a caterpillar. The way things are going I expect the caterpillar to shoot out laser beams and open a portal to an alternate dimension as long as it’s dropped in a random spot in the forest.

Posted December 19, 2018 by Jason Dyer in Interactive Fiction

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Goblins: Terrible Maps   4 comments

Goblins start you off able to access a *very* large chunk of the map – I’m going to guess, by the capacity of Apple II games, most of it — and most of is terrible. Take a look at the outdoor section above. Starting at “By Lake”, N, SW, S, NW gets you back to where you started. While outdoors. Argh!

The troubles are triple-multiplied by the minimal descriptions also saying nothing about room exits. The only way to tell what the room exits are is to thoroughly test N, S, W, E, NE, SE, SW, NW, U, and D. In every single room in the game. Yes, I had to do this with all of them. It made mapping incredibly slow.

Of course there is a maze. Hoo boy, is there a maze.

This really doesn’t look so bad, does it? However.

a.) Any exit that’s not displayed on the map actually does a loop. I had to keep track of which loops I tested as I went along.

b.) Sometimes (randomly) instead of a loop, you find a “smelly tunnel” and go to a random location in the maze instead. It took me a while to catch on to this and some parts of my map were originally wrong.

c.) The goblins are still out and about and occasionally killing you. I ran out of items to drop in rooms for mapping purposes and tried to go out and get more, but I couldn’t because they kept stabbing me. I ended up resorting to moving the knife around (see “knife 1”, “knife 2”, “knife 3”) and hoping that it wouldn’t get things totally confused.

d.) Unless I’m missing something, the maze is essentially useless – notice it just goes in a loop, with no treasures indicated. There’s a room to the left of the starting room (“Light From Above”) that you can use to poke your head above ground and get killed by the silly-looking ogre you saw from my last post, but that doesn’t require navigating the maze at all.

It’s possible a lot of this was “busy work” trying to justify the game being commercial (it sold for $27.50; in 2017 dollars that would be $75.26).

There is one saving grace, and that is the “safe place” the game wants you to store treasures in has a magic word associated with it — two, in fact. HXME (found on a tree) takes all objects the player is carrying and teleports them to a treehouse, while QIM (found in a mine) will teleport the player (but not what they’re carrying). So you can choose to teleport just treasures to the treehouse, or you can just teleport yourself, or you can teleport both. This has been genuinely handy in a few circumstances, and I don’t recall it in any other game I’ve played.

There’s a little animation of the ghost moving around when you enter (the ghost is that blob-thing in the upper-left of the picture). It doesn’t seem to be either friendly or hostile, it just floats there. I don’t know if I’m supposed to banish it or come up with a way to ally with it or whatnot yet.

I’m at the point now I have a list of objects and obstacles, but they’re all far apart from each other. I’m going to tilt this game over from “easy” to at least “annoying” but it’s starting to lean to the “hard”; I need to keep going to be sure.

Posted December 14, 2018 by Jason Dyer in Interactive Fiction

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Goblins (1979, 1981)   1 comment

We just went through a game Roberta Williams explicitly cited as an influence. But what if there was an influence that was intentionally left out?

Goblins was originally a text-only adventure game for Apple II by Hal Antonson and Linda Stix:

We sent the program to Programma International in California for publishing. It was “released” in 1979. This version was strictly text. There were no graphics. I have forgotten how many copies for which we were paid. I think it was 13 or 30! An interesting note. Roberta and Ken Williams had just moved to Coarsegold and had started Sierra Systems. They had a copy from Programma. Ken was the assembler guy and Roberta became the Queen of fantasy games. There are a dozen similarities in their first game, “The Wizard and the Princess,” to Goblins.

In 1981, a version with graphics was published by Highlands Computer Services. This is the version that survives today.

I’m not sure what to think of the above story – The Wizard and the Princess (from 1980) isn’t the Williams’ first game, and the business names they went through were On-Line Systems and Sierra On-Line respectively. I can chalk the discrepancies up the usual fuzziness of memory, but it means the rest of the story may include some of the same fuzziness. Really, the easiest way to confirm the link is to play the two games. Since Goblins theoretically came first chronologically, I’m playing it first.

However, the 1981 game clearly isn’t identical to the 1979 one. If Sierra borrowed from Goblins, then Goblins must have borrowed back from Sierra, because this game includes some rooms that are described purely by the visuals, which wouldn’t work in a text-only game.

These rooms are scattered throughout regular named text rooms, although the rooms are quite minimally described. (There’s enough of them I can understand why – the game undoubtedly pushed a disk capacity limit.)

Every item has an associated picture which gets drawn on top of the room graphic (those two strange ovals are the limes).

In any case, the premise is that you are tromping through “goblin country”. From the instructions:

GOBLIN COUNTRY IS A LAND OF MAGIC, TREASURE AND ADVENTURE. TO WIN, YOU MUST FIND ALL THE TREASURE AND TAKE IT TO A SAFE PLACE.

Also,

YOU INCREASE YOUR SCORE BY PUTTING YOUR TREASURE IN A SAFE PLACE (YOU MAY HAVE TROUBLE KEEPING THE PLACE SAFE!)

Every once in a while you get attacked by a goblin, with a random chance at killing the player. As far as I can tell so far there is no way to evade or avoid this, which means sometimes the player just dies because a random number generator decreed it to be so.

I’ll report back when I have more of the map filled in; I still can’t tell yet if this is going to be an easy game or a toughie.

Posted December 13, 2018 by Jason Dyer in Interactive Fiction

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Journey: The Deathtrap Legacy   5 comments

Quick recap: Journey was a game by Steve Baker from 1979. Roberta Williams mentioned as an influence before embarking on writing Mystery House; it seemed to be entirely gone from the internet, but with the help of Howard Feldman it’s now on both The Internet Archive and if-archive.

The manual for the game.

Note the use above of “DESCRIBE” instead of “EXAMINE”; it looks like Steve Baker’s only previous experience was 350-point Adventure, which didn’t have an examine command. (I find these early variations on common norms fascinating, like peering into alternate universes. Mystery Mansion had LIST instead of INVENTORY. Empire of the Over-Mind not only eschewed compass directions but required you to >HOLD an object before you could do anything with it. Warp tried adding conditional commands to the parser.)

WELCOME TO JOURNEY

YOU ARE STANDING BEFORE A SMALL, BRICK WISHING WELL. THE WELL HAS AN OAK WINCH WITH 25 FEET OF ROPE.

In any case, a few steps away there’s a house:

YOU ARE AT THE END OF A GARDEN PATH. THERE IS AN OLD, VICTORIAN HOUSE TO YOUR IMMEDIATE EAST. A SMALL CREVICE MARKS THE ENTRANCE TO A GRANITE ROCK WHICH LIES TO THE WEST. IF YOU ENTER THE CREVICE YOU WOULD NOT BE ABLE TO CLIMB BACK OUT!

Inside the house:

YOU’RE IN THE NORTHERN HALL OF HOUSE

MANY PORTRAITS OF ADVENTURERS HUNG HERE LINE ALL WALLS. OAK DOORS MARK THE ENTRANCE TO A SOUTHERN HALL.

THERE’S ARE SOME MATCHES HERE!

The goal, as the instructions indicate, is to find all the treasures and store them in the *SAFE* EST place possible (there’s a safe in the house). Every once in a while (assuming you’re playing the Applesoft version) you get attacked

THERE’S A VERY LARGE THREATENING RODENT IN THE ROOM WITH YOU!!!!!!!

HE LEAPS FOR YOUR THROAT! AND BITES YOU!

The rat is are essentially like the dwarves from Adventure; they will appear randomly throughout the adventure and you have to use a KNIFE found in the mansion to fend them off.

>THROW KNIFE
THE RODENT SHRIEKS AND VANISHES IN A *POOF* OF SMOKE!!!

RODENT:0 PLAYER:1

Earlier the game mentions “a small crevice” which is described much like one of the cave entrances of Adventure. However, things take a turn rather quickly:

IT SEEMS TO BE A PRETTY TIGHT FIT!…
YOU FIND YOURSELF IN A GRANITE ROCK. THERE IS A HOLE IN THE FLOOR OF THE ROCK. AN EEERIE, RED GLOW DIMLY LIGHTS THE WAY SOUTH.

>S
BY JOVE! THIS PLACE LOOKS LIKE DOWNTOWN HOLLYWOOD. RED LIGHTS SEEM TO PAINT A DRIVERS NIGHTMARE. “ROCKY” IS PLAYING NORTH OF THE INTERSECTION AT YOUR PRESENT LOCATION. THE 12TH DISTRICT, POLICE STATION LIES SOUTH.

At this point, my brain had to entirely shift what time and place the game was happening at. The map might assist (click to enlarge):

The west side is the “city” area and includes an underground sewer. The right side is the mansion, and there’s a very small “cave” area connecting the two up top (“Below Granite Rock”, “Dimly Lit Cave”).

This was, in the end, a fairly short game, but I wanted to mention three more things:

1.) I rather liked the feel of this scene, a horror movie in miniature:

YOU ARE IN THE STREET. THERE IS A NARROW SEWER GRATE IN THE EASTERN CURB

SOMEONE IS STARING UP AT YOU FROM INSIDE THE GRATE!

>DESCRIBE SOMEONE
I THINK IT’S YOU!
>>> SHAZAM <<<

YOU ARE LOOKING THROUGH A NARROW, GRATE ONTO A DARK STREET. THE STREET IS DESERTED. THE SEWER CONTINUES DOWN.

2.) The treasures are scattered at random and will change if you reset and restart the game. I didn’t work out the entire system, but I should note this was pretty unusual for the time and the only comparable game I can think of from that era is Lords of Karma.

3.) There are a few ways to die, and two in particular are noteworthy.

YOU’RE IN THE ATTIC. THE A-SHAPED, OPEN BEAMED ROOF IS LACED WITH COBWEBS. A THREE-LEGGED CHAIR IS UNDER THE MAIN BEAM.

THERE’S A ROPE TIED TO A BEAM HERE!

>UNTIE ROPE
THE ROPE IS TOO HIGH TO REACH!

>DESCRIBE ROPE
THE ROPE WOULD UNTIE VERY EASILY IF YOU COULD STAND ON SOMETHING TO REACH IT.

>STAND ON CHAIR
YOU ARE NOW STANDING ON THE CHAIR!

>UNTIE ROPE
WHILE TRYING TO REACH FOR THE ROPE, YOU LOST YOUR FOOTING, AND WERE HANGED!

Now, it’s not like we haven’t seen our fair share of death in prior adventure games, but for the most part death has been either a sudden consequence for failing a puzzle or a straight-up arbitrary event. In this case, there’s a long wind-up, like setting up a joke, and the player is essentially complicit in their own demise. (Compare to participatory comedy in Mystery Fun House.)

Here’s another instance:

YOU ARE IN A SMALL, NARROW ALLEY BEHIND THE POLICE STATION. THERE IS A LARGE IRON MANHOLE COVER INLAID INTO THE GROUND. THE ALLEY HEADS NORTH AND SEEMS TO OPEN UP. A SMALL GARAGE IS TO THE WEST. THERE IS A PECULIAR ODOR TO THE AIR AROUND HERE.

>OPEN COVER
OK!

THE MANHOLE COVER IS OPEN!

So far, so good. This place happens to be next to the police station, so if you later get arrested, and try to get out:

YOU ARE IN A SMALL, DINGY JAIL CELL. THERE’S AN OPEN WINDOW JUST OUT OF EASY REACH ABOVE YOU.

>JUMP WINDOW
YOU BARELY REACH THE LEDGE OF THE WINDOW, AND SCURRY OUTSIDE INTO…….

AN OPEN MANHOLE!!!!! SOMEONE HAS CARELESSLY LEFT THAT DARN COVER OFF AGAIN! PANCAKES ANYONE?

Death as both obstacle and amusement is essentially one of the trademarks of the Sierra adventure style; one could argue it was exactly here where it started.

With the manhole death I could see the little EGA figure falling.

Posted December 7, 2018 by Jason Dyer in Interactive Fiction

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Recent Interactive Fiction and Text Adventure News   2 comments

Sorry, I have been snowed under by work / personal things – I hope to get back to posting soon!

In the meantime:

  • The 2018 IF Competition (24 years running now) happened, and you can view the results here.
  • Cragne Manor: An Anchorhead Tribute organized by Ryan Veeder and Jenni Polodna is a giant multi-author text adventure tribute (I’ve lost track but it’s something like 50 people?) and is now in its final testing phase. I’m guessing a release this year?
  • AdventureX (the adventure game convention in the UK) happened and one of the games was Over the Alps, which explicitly takes inspiration “from fellow UK company inkle, and particularly from their interactive fiction adventure 80 Days.”
  • Choice of Games continues to release a whole mass of things. I recommend The Martian Job, a casino heist set on Mars.
  • I haven’t been able to follow visual novels that closely lately, but last week saw the release of Don’t Forget Our Esports Dream, about attempting to make it as a professional Starcraft player. “Minigames” (mini-Starcraft scenes, essentially) which focus on “actions-per-minute” speed are included.
  • I’m not sure if this counts as interactive fiction, but since Tin Man Games has done a lot in the space, I’ll post this video of Table of Tales, which is designed for Playstation VR.


  • ADD: A parser adventure game called The Lost Legends of Redwall: Escape the Gloomer came out this month on Steam based on the books of Brian Jacques. It includes the involvement of Scott Adams (the original author of Adventureland / Pirate Adventure / etc.)
  • redwall

  • ADD: Daniel Benmergui (I Wish I Were the Moon, Fidel) has (as of today) teamed up with Annapurna Interactive (Gorogoa, Donut Country) to finish Storyteller, “a puzzle game about building stories” that won the IGF Nuovo award back in 2012.

Posted November 26, 2018 by Jason Dyer in Interactive Fiction