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The Home of Otter Interactive Fiction

BSG: Twenty Two Reviews 
Author: Madquest8
Date: 2009
ADRIFT 4.0


What does AIF stand for? Adult Interactive Fiction. If you likely to be offended by games with sexual content, you are advised not
to open these files.


Reviewed by A. Ninny (Inside Erin: The AIF Community Newsletter Volume 5 Number 7 Ė July 2009)

Overview: This game has a science fiction setting; you play a ruthless space warrior. Humanity is at war with a robotic alien race and your warship has had a bomb concealed on it by a particularly sexy alien lady
robot, whom your crew has captured. Itís your job to convince the alien to reveal the location of the bomb before it explodes. You have only twenty-two turns.

Review: This is the kind of game thatís got such a cheesy story, if it seemed like it was taking itself too seriously it would fall flat. Instead, you get just enough backstory to know your mission and off you go.
The whole setup - youíre in heightened suspense for 22 turns before the game ends - makes the authorís terseness an asset to the feeling of the game. If you waste a lot of time looking for backstory, youíll die. If
you spend a lot of time looking at the scenery, youíll die. So best to get straight to the point. Itís also a game that youíre going to have to play repeatedly before you solve, and so were I the author Iíd want to
make sure to offer enough variety in actions that player wonít get bored. I thought the author got part of the way there on that point. There are a fairly wide variety of options, but not different descriptions for
similar actions. I found the sex writing to be pretty much comic book goofy, but that didnít bother me too much given the hokiness of the story. I appreciated that the characters stay consistent to their roles and
donít become generic, not that thatís too difficult considering how cartoony they are. I didnít really buy the authorís choice as to what the solution would be. It felt like he was trying to use something that players
wouldnít hit upon in their normal AIF command repertoire, but even though I figured it out relatively quickly, it left me scratching my head as to just why that worked.

Concept: B-. I guess Iím a sucker for goofy Sci-fi stories. This qualifies.
Writing: B. As soon as I saw that this was a space opera, my expectations dropped, but the writing was actually pretty good.
Characters: B-. Both of the characters are cartoonish and flat, but still fun.
Hotness: C. While the sex scene is in character with the rest of the story, it isnít one that did much for me.
Technical: C. There are some bugs, but overall the game works pretty well.
Enjoyment: C+. I think it could have been better if the solution to the puzzle made more sense.
 


Reviewed by ExLibris (Inside Erin: The AIF Community Newsletter Volume 5 Number 7 Ė July 2009)
 

Through no fault of its own, BSG starts with a few strikes against it simply because of my own my own subjective prejudices. Firstly, as a rule I don't like regular fan-fiction very much, but after playing this game
I realised that it's preferable to fan-fiction with the names slightly changed.

Secondly, I'm not too keen on games with time limits, especially when the time is advanced by nearly any action, even something as innocuous as examining an object. Generally that means the annoyance of having
to undo a lot, but in this case the annoyance was increased by the fact that undo was disabled. I can sympathise with the desire to create tension, but when it comes to not being able to undo after accidentally
wasting a turn through a typo, it's a bit much.

The time limit is an indirect cause of my third quibble, the huge infodump at the beginning. A lot of the stuff in the infodump could have quite happily been placed in a readme file (BSG was also the only game
without a readme file, which I'm afraid is another strike against it). As far as the story related information goes, I think there are better ways to provide it. Obedience was a good example of this, as it drip-fed the
required information, allowing the player to slowly submerge into the character, instead of just dumping everything on the player in one load. The load in this case felt particularly heavy as well, not so much
nudging the player in the right direction as leading them by the hand.

My prejudices against the game were increased by the fact that Tricia's dialogue was in a different colour to the rest of the text. Normally I'd think that was a good idea but, like probably 50% of the population, I had
white set as my background colour. Consequently, making the dialogue yellow was not an inspired choice unless the aim was eyestrain. Changing the colour was easy enough, but it was just one more little
annoyance.

Finally, run on sentences are bad, m'kay. Splicing them with commas or chaining them together with ellipses doesn't improve readability either.

The reason I mention all of this, is that I really had to force myself to play this game through to completion. And I'm glad I did as there is a surprising amount of content concealed under that rather unappealing
exterior. Tricia is certainly one of the better implemented NPCs in the competition, with a wide variety of responses to both conversation and especially actions. Also, while the execution didn't appeal to me in a lot
of ways, I felt that the basic concept was a good one.

Overall, I'd classify this game as something of an ugly duckling. It doesn't quite grow up into a beautiful  swan when you get into it, but there are certainly some features of interest.
 


Reviewed by Gary Plume (Inside Erin: The AIF Community Newsletter Volume 5 Number 7 Ė July 2009)


This game was annoying. Violent domination sex is not my cup of tea, and the threat of being bombed into oblivion put another damper on my enjoyment. The NPC laughing at the PC was actually a powerful
technique, but it unfortunately increased my revulsion of the game. The main puzzle seemed to be a conversational maze that you were supposed to follow, but the constant restarts to try to find a brute force
way of exploring all dead ends annoyed me. Eventually, I gave up because the path that seemed to be correct didn't seem to win the game and then I had to postulate following combinations of pathways which
wasn't fun. What does this game want from me? The titillation over frustration quotient was too low to make me come back for more after each bomb blast. I gave up trying to win. I don't remember where I
read it recently, but someone recommended NOT trying to quote the onomatopeia of an orgasm. This game shows me exactly what a terrible technique it is.

 


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