Open Sorcery

Here’s another deliciously cheap yet good game on Steam sale:


Open Sorcery is a primarily text-based interactive fiction game written in Twine, with judicious amounts of pauses and scrolling text, sound effects and the rare picture for narrative impact.

You play an elemental firewall (the game title “Open Sorcery” a pun about open source code) on the verge of gaining a kind of sentience.

The world cleverly mixes a dose of technological computerese with a shade of the elemental fantastical – where aetheric firewalls protect against possibly malicious spirits formed by the base elements of water, air, earth, fire, life, death, love and fear.


Along the way you meet various characters and interact with them, developing relationships and occasionally taking surprising twists and turns, depending on your choices.

One of your first encounters is with a Air-Chaos spirit, an impish poltergeist.


This is a screenshot of my second playthrough, and you can see I have a new option learned from the first game – where I decided to speak to it and it challenged me to a riddle contest.

Solving its riddles three made it throw a bit of a hissy fit, but also successfully persuaded it to leave peaceably.


Besting it also taught me a new element, Chaos, that I could utilize alongside my basic Fire.

The lovely thing about Open Sorcery is that nearly all of its choices it offers you are significant choices – story changers in their own right. You can take matters into your own hands, consult with your creators, use what you’ve learned in earlier encounters and some of these might just come back to roost in the following days.

The poltergeist, for example, came back to the place I was guarding and extended an invitation to meet his queen Titania… but which meant I, a firewall, would have to leave the place I was guarding. Something which just might end up flagging me as malfunctioning to my creators.

Talk about awareness emergence, AI sentience and tricky choices.

For a Twine game, it gets non-linearity right. (I’ve played one too many Twine games which are mostly linear exercises in clicking the one-and-only next highlighted word.)

By the end of your first playthrough, you’ll be aware of the paths you didn’t take, especially if you peek at the achievements that hint to the other possible story branches and endings.

I don’t know that I’m raring to go and play through too many more times – the repetition may get to me sooner than later – but it does say something that I’m immensely content with the first ending that I got.

On the whole, it doesn’t try to twist your choices out from under you. What you choose is generally what you will get. The impact comes from the tradeoffs of that choice.

If you spend Fire to solve a problem, you will naturally be weaker for having spent that energy, which might no longer be available to solve a second more pressing problem. If you take matters into your own hands, you should not be surprised if that independence freaks people out. Yet if you fall back on humans to solve your problems for you, you might never discover potential new learning/growth opportunities and relationships of your own. And so on and so forth.

For anyone interested in some choose-your-own-adventure narrative, this is a nifty game. Short, sweet, some replayability, and currently 66% off on Steam.

(Caveat: it’s gone down to 75% before, but we are literally talking about the difference between $0.99 and $1.35. For around a dollar, this is a fun experience.)


IF: A Ghost Story and a Magical Family

Courtesy of Rock, Paper, Shotgun’s Free Indie Games column recommendations, come two me-recommended… um, what’s the word… pasttimes.

I can’t in all honesty quite precisely call them games, or interactive fiction, for that matter.

They are, and they aren’t.

They’re not games in the sense of what we commonly understand are games, a self-contained executable with its own rules and boundaries and win states that you can arrive at due to the interactivity of a player’s intervention and control, but then again, they are. With very limited interactivity, that is.

They don’t follow the common convention of interactive fiction, which is typically Inform-based and involves a bunch of rooms to wander around in, picking up objects and trying to cobble them together to solve puzzles until you reach the end of a certain branch in the narrative.

One is mostly hypertext links, and the other is a more fancy version of playing with hypertext. Both follow a mostly linear story, with your small choices altering the flavor of events, and I doubt you’ll have much patience to play them through more than once or twice or so.

But what they are, undeniably, is good evocative writing.

Both showcase a world that is unlike our own. For that, if nothing else, I would recommend that you play them.

Stygia – I get echoes of the Wraith: The Oblivion universe out of this one, as well as Grim Fandango.

A short day in the undead life of a working stiff (pun very much intended) – you do your job (haunting a real living family), you gets your pay, you go home (except you may encounter… something more.)

First Draft of the Revolution – Set in Emily Short’s Lavori D’ Aracne universe, where the noble class has a strange sort of magic, you write… and revise… letters from a variety of different people interacting with each other.

The intrigue about this one is in the moment, how individual characters are made unique by the style in which they compose their correspondence. The player gets more out of what is left unsaid, what is quickly rewritten or erased, rather than what remains on the page for consumption by the other characters.

P.S. The 2012 Interactive Fiction competition is now ongoing. Quite a number of games this year are available for online play, which really makes things convenient. I may talk more of them after the month is out, as I don’t want to alter anyone’s scoring or first impressions.

So far, I’ve tried seven, five of which are pretty much crap, one passable and one with decent potential. About par for the course when sifting through these entries, the real joy comes when you find that one or two diamonds in the rough that make the wading through horseshit worth it.

GW2/IF: Back on the Narrative Hunt – Emily Short and Fractured Fairy Tales

One of the things I started missing while enjoying Guild Wars 2 was narrative. Huh? Doesn’t GW2 have narrative?

Well, yes, and while I don’t mind the later personal story as much as some, and I appreciate the branching choices involved in creating that personal story, one of the things I did feel about it was that it was very… fractured. You’re not meant to go on it non-stop, you’re encouraged to take time out for hearts and DEs and what-have-you.

As a result, I feel a little less story continuity than say, in GW1, where you get to go on a nonstop story mission ride until you get bored, then you go off looking for trouble with side quests and back alley zone exploration and vanquishing. It’s nice enough, for what it is, and I appreciate seeing some of my chosen allies along for the ride in the higher level stuff (though I really miss my first NPC companion Maverick, whom we never see again past level 30.)

Ditto the dungeon stories. I did them completely out of level order and it’s a bit… hard to put them back together in any semblance of plot order. It’s not really a spoiler to say that Destiny’s Edge fights and squabbles a lot in the earlier dungeons, then they kiss (ok, not really) and make up and learn their lessons in the later dungeons, in time for the final big fight.

The world stories are okay, when you talk with the NPCs, it’s pretty entertaining, but there’s not much of a “me” story when wandering the world. Or rather, nothing terribly interesting to relate.

Who wants to hear the story of me following a trail of mithril ores until I got to a cypress tree, slaughtering drakes and wolves and polar bears along the way, until I found an orichalcum ore, yay, then I saw a rich mithril vein and had to figure out how to get to it, and it was guarded by a veteran something or order, and hey, there’s a cave there I never saw, so I went down it and saw stuff, and oooh, a chest, and oh darn, wasn’t I meant to be completing this zone, except by now the vista I was wandering to is somewhere southeast of here instead of northwest so I guess it’s time to head back in that direc…eep, a DE just exploded on me, ok, fightfightfight, and now this escort DE wants me to go that way (looks longingly at the vista)… oh screw it, the vista is always going to be there, trots off after the mass of people following the NPCs…

I guess it’s a narrative, and it’s a player-engendered one, which is sorta kinda sandboxy but not quite, but it’s also the same as what most people are doing, just not in that precise order. It’s a bit more meta-gamey than roleplay-ey, I guess.

There’s perhaps more unique diversity of experience in more sandbox games like Eve, where folks can be isolated in one tiny corner of the universe and have their own special adventures brought on by their self-chosen goals, but for myself, I’ve never really liked the idea of being just a small insignificant cog in some vast machinery understanding only a little part of the overall big puzzle. Fun for a little while, maybe, but I don’t have the patience long term for it.

No, the kind of narrative that will offset the lack of it in GW2 nicely would be short, bite-sized stories where I can take on a role and immerse in a world given to me by the author, and make meaningful choices to drive the story forward, and possibly have it branch out into significantly different endings and consequences based on what I chose to do.

That kind of narrative is best found in interactive fiction (IF) games.

And since GW2 does so wonderfully visually, the perfect yet different complement is literary elegance.

Every year, around this time, I start getting an itch for IF, because of the anticipation of Ifcomp, a yearly competition of interaction fiction (or text-adventure games) where you get to play a bunch of them for two hours and vote on your favorites. I’m about two weeks early, as the voting starts October 1st and authors are just submitting their games in September.

So I decided to check out a bunch of games I haven’t played, and my go-to author for IF is Emily Short, a true master of this medium.

If you haven’t played text-adventure games in a long time, or at all, do give them a try. It’s moved on quite a bit since the stilted unfriendly two word parsers which make trying to solve the game an exercise in authorial mind-reading and walkthrough following. The best of the lot are very well-written, technically clever and conjure up fantastic worlds and characters and dialogue in text.

I first fell in love with Emily Short’s work playing Metamorphoses, which I don’t really recommend to start with for IF newbies, but heartily do for those used to the genre. It’s mysterious, literary, figurative, symbolic, and very very well-coded. The puzzles involve transforming objects into different materials (hence the name of the game) and there are alternative solutions for each puzzle and stuff reacts in a way very consistent with the materials they are made of. It’s very impressive for what it sets out to achieve, and demonstrate what IF can do successfully.

Instead, for newbies, I’d suggest something I just tried a couple days ago and found quite doable. Bronze, part of her Fractured Fairy Tales series, is a story of Beauty and the Beast. It’s notable for having a novice mode, which explicitly helps out those new to the entire genre. It’s anything but a simple story, though, as you explore through the Beast’s castle, you will learn more of the history of its inhabitants and form your own opinions and emotions up to the point of the ending(s) where one can choose to have vengeance on or save certain characters (for whatever reasons or morals or ethics guide your hand.)

For the ultimate in super-short entertainment, A Day for Fresh Sushi is what is known in IF as a “one-room” puzzle, apparently solvable in three moves. As far as I understand it, this was a speed IF, coded in two hours, so it’s not as comprehensively parser foolproof as most of Emily Short’s other works but it’s amusing five minute entertainment to read the snark of the titular evil talking fish character while you’re trying to feed him. Low investment entertainment, worth trying, just don’t expect anything resembling perfection, but pretty funny.


>x fish

Even if you had had no prior experience with him, you would be able to see at a glance that this is an evil fish. From his sharkish nose to his razor fins, every inch of his compact body exudes hatred and danger.

The fish notices your gaze; makes a pathetic mime of trying to find little flakes of remaining food amongst the gravel.

Best of Three is a very interesting simulation of a conversation, as a girl meeting someone you once had a crush on in high school, realistic to the point of awkwardness. It’s amazing how differently you can choose to react. I spent one game just gabbering on about anything under the sun, barely shutting up once. And another where I was silent through most of it, leaving the old flame doing most of the awkward filling in of the gaps until he eventually gives up and takes his leave. And I don’t think I’ve seen all the possible endings yet.

Bee is also realistically interesting. It’s different from the others in that it’s not in Inform format, but in a web form called Varytales. You play a girl who sets out to win the National Spelling Bee, but will lose, someday, somehow. But the reasons and motivations for the above are what is really important here. (It’s got a lot of resonance with my previous post on thinking about why we game. And what we consider winning and success.) There are some major major themes running through this story, about home-schooling, about parents, about work and play – friends, homework, school and siblings. How you define success, and how you define learning. Oh, science and religion. Big themes. Very worth a read. Or two.

(And it’s in web format, so you just click, rather than typing, if you’re scared of the IF parser.)

For those not impressed by overly flowery words, I’d recommend something not-Emily Short, but hilariously funny. Lost Pig, in which you play an orc, who has lost a pig and must find it. If you get through this one without laughing or liking it, you are beyond saving.


Pig lost! Boss say that it Grunk fault. Say Grunk forget about closing gate. Maybe boss right. Grunk not remember forgetting, but maybe Grunk just forget. Boss say Grunk go find pig, bring it back. Him say, if Grunk not bring back pig, not bring back Grunk either. Grunk like working at pig farm, so now Grunk need find pig.

The whole thing is written from Grunk’s POV. It’s crazy fun.

There are a lot more good ones that Emily Short (and others, not mentioned here) have written, Galatea, Flashpoint, Savor-Faire, City of Secrets, etc. that I’ve played ages past before, but I mainly wanted to cover the four less-known ones I just played, Bronze, Sushi, Bee and Bestof3, in this post. The other two are classics that have etched themselves into my brain and must recommend.

And how do you play IF, you may ask?

Well, in all the games I just linked, in the top right hand corner, there is a little button that reads, “Play Online” which you can just click and the game will start and you don’t have to do any more worrying than that.

If you’re more of a hardcore fanatic and develop a taste for this sort of thing, there are interpreters and clients that you can download (click on “Show Me How”), and the game files from that archive, and then you can play the things offline. Z-Code and Inform games run off something called Frotz, there’s a bunch of variants.

And there’s an app in the iStore called Frotz which works for iPad and iPhone, more or less. This is my preference these days, as it’s more portable than sitting in front of a desktop (which dangles Steam and other MMOs oh so temptingly.) It has a bit of a tendency to crash or stall in mysterious fashion with bigger, more sophisticated games on my ancient iPad 1, at which point, I just switch to online play versions, but works all right for 75% of the games I’ve tried.

The basic conventions for IF are as follows:

EXAMINE everything. Just type ‘x’ followed by a noun. Eg. ‘x cat’ ‘x cupboard’ ‘x drawer’ etc.

Moving is usually via compass directions. North, south, etc, and shortened to N, E, S, W, NE, SW, NW, SE, etc. and there ‘s occasionally up and down, in and out.

To see what you’re carrying, INVENTORY or ‘i’

From there, just try anything and everything. Push, pull, touch, feel, hit, kill, whatever verbs shake your boat. And you can always try HELP or HINTS if the game provides for it.