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From: buzzard@TheWorld.com (Sean T Barrett)
Subject: buzzard comp reviews
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Date: Fri, 16 Nov 2001 05:47:58 GMT
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Things that generally annoyed me this year:

   Interpreter problems. I didn't hold this against any
   games except the games that used a non-generic system
   (e.g. MSDOS and windows-only games).

   Lack of initial character/player motivation for taking
   actions at the beginning.

   A game that was a sequence of one-room games. I'm not
   going to hold Adam Cadre responsible for this trend--
   Photopia at least used multi-room areas--and to a
   certain extent this is a matter of taste--I prefer IF
   to be more significantly non-linear.

Not scored:
   Begegnung am Fluss (didn't speak the language)
   Heroes (authored)

Scoring:

   1: You Were Doomed From The Start
   2: The Last Just Cause
   2: Kallisti
   2: Invasion of the Angora-fetish Extremely Long Names
   2: The Test
   2: Goofy
   2: The Newcomer
   2: Shattered Memory

   3: Silicon Castles
   3: Bane of the Builders
   3: Jump
   3: SURREAL
   3: 2112
   3: Lovesong
   3: Colours
   3: Grayscale
   3: Mystery Manor
   3: Schroedinger's Cat
   3: Elements
   3: The Cave of Morpheus
   4: Timeout
   4: Volcano Isle
   4: Stranded
   4: an apple from nowhere
   4: To Otherwhere and Back
   4: Stick it to the man
   4: Triune
   4: The Evil Sorcerer
   4: Fusillade
   4: The Chasing
   4: The Coast House
   4: The Cruise

   5: You Are Here
   5: Stiffy Makane: The Undiscovered Country
   5: The Gostak
   5: Moments Out of Time
   5: The Isolato Incident
   6: Crusade
   6: The Beetmonger's Journal
   6: Earth And Sky
   6: Film at Eleven
   6: Journey from an Islet
   6: Fine Tuned
   6: No Time To Squeal

   7: Carma
   7: Prized Possession
   7: A Night Guest
   8: Best of Three
   8: Vicious Cycles
   8: All Roads

All the games which have no reviews below generally had no
redeeming features and suffered from one or more of the
following problems:

   Boring. A lot of rooms with nothing to do, or in-your-face
   stuff to do that was repetitive and, well, boring.

   Horrible spelling and grammar everywhere.

   Bizarro formatting problems: combining descriptive text
   with event text, the whole game becoming centered and then
   italicized, whatever.

   Game pretended to understand words it didn't know, thus
   making it impossible to distinguish between operable-objects
   and scenery and nonexistant things.

   All puzzles required reading the author's mind.

   Game's purpose was to demonstrate that you can create a bad
   game by writing everything from scratch.

   Game wasn't finished.


The following is in the order I played them.


You Were Doomed from the Start
  score: 1, time: 0:05, status: completed

Mystery Manor
  score: 3, time: 0:15, status: abandoned

Night Guest
  This game was pretty enjoyable, even though it was
  basically a one-note game and it was super-super
  linear. It had a good sense of style. However, since
  95% of the fun comes from the silly verse, I had to
  penalize it for some poetry sloppiness (e.g. demon/lemon).
  (This game is of course 'superlinear' as described above,
  so maybe the max it could have ever gotten from me
  would be an 8.)

  score: 7, time: 0:15, status: completed

The Beetmonger's Journal
  This games started strong--I loved the third-person past
  tense with a first-person narrator--and the beginning of
  the main game was decent, but in the middle the game
  just turned to mulch for me. A lot of the puzzles just
  seemed designed in a rote fashion, as if there were a
  few puzzle templates and the designer filled in the blanks;
  the puzzles may have vaguely fit the universe, but they
  didn't seem to cohere. Additionally, some of the puzzles
  were underclued, and there was a little too much linear
  sequentiality--get V to frob W to get X to talk to Y to
  get Z--which is problematic when the depenencies aren't
  apparent to the player.

  score: 6, time: 0:30, status: abandoned

Crusade
  From my notes:
     kind of wacky, kind of read my mind
     I hate games that say things like "remember that
     talking to people is always the best source of advice".
     Such games almost always seem to have implemented
     about 1% of the things I want to ask about.

  All in all, it had a fun spirit but a clumsy
  execution.

  score: 6, time: 0:35, status: abandoned

Grayscale
  score: 3, time: 0:10, status: abandoned

Elements
  No scenery--almost nothing mentioned in the room desc
  is examinable--but then, without any warning, something
  crucial to solving the game is.

  From notes: "i am entirely without goal. i have run out
  of inventory and I have no idea what I need or don't need".

  Looked at the walkthrough and didn't seem like I'd
  have ever figured out any of it.

  score: 3, time: 0:17, status: abandoned

Bane of the Builders
  Vaguely interesting premise, but some problematic
  grammar, and then I got stuck, and when I check
  the walkthrough, I notice that, hmm, there's an
  object in the first location that I missed (I
  could still get back there at least, but it would
  have been a long time before I'd have thought to).
  Moreover, there's a maze which I hadn't been able
  to navigate (I couldn't seem to go back the way
  I came), and solving the maze completely requires
  the object I missed.

  score: 3, time: 0:16, status: abandoned

Timeout
  I wanted to like this game; or rather, I wanted this to
  be a good game. The second adventure game I wrote (or
  rather, started writing) was set in the Paranoia universe,
  and even though I didn't finish it, it launched me on
  the road of implementing compilers and interpreters, so
  Paranoia adventures are dear to my heart. But enough about
  me. Sadly, this game takes an open-ended interactive RPG
  and adapts it into a linear "interactive" fiction, with
  some seriously nonexistent room descriptions (including
  lack of direction information), and major bugs.

  score: 4, time: 0:25, status: crashed

Journey from an Islet
  No motivation (in hindsight, can infer one from the
  title), and the final puzzle was too uncued for me.
  There were some nice touches that I liked. The writing,
  which I guess was supposd to be the focus of the game,
  suffered a bit from trying to hard, e.g. the infamous
  too many adjectives.

  From my notes:

    About that puzzle, a well-designed puzzle chain goes
    like this: You need to accomplish A. You discover a
    barrier; you need to find some way to accomplish B
    to pull off A. You investigate how to do B, and
    discern that you'll perhaps need C. But to get C,
    you first need to do D. Aha, and if you do E, that'll
    let you do D, which gets you C, which lets you do B,
    which lets you accomplish A.

    The primary puzzle chain here is, you decide for no
    obvious reason to do B, but you encounter a barrier,
    so you have to do A first. Ok, now you've done A and B,
    which has netted you item C. What the heck, you can
    manipulate item C, giving you item D. With a bit more
    of work you end up with item E. And hey, doing action
    F with item E is accepted by the game... and then doing
    action G wins! Yay!

  score: 6, time: 0:24, status: completed

Prized Poessession
  This game opens with a time-pressure scenario which
  makes me, playing in character, tend not to examine
  things closely nor search for non-obvious stuff. So
  having to examine the trough to discover the water
  was an unintended (I think) obstacle.

  I found it frustrating that I wasn't allowed to control
  the character; I'm strapped to a cart, someone I can't
  see demands someone else relinquish the cart, why can't
  I scream instead of just 'z'ing?

  Excessive linearity. At one point, I have the option of
  managing to get out of the cart, at which point somebody
  spots that I've fallen out and puts me back in it; moments
  later, the scripted storyline demands me fall out of the
  cart again. Similarly, lots of actions suggested in the
  walkthrough make no difference at all.

  I needed a hint for the 'sleep' puzzle because it's
  rather implausible. (Not the action itself, but the
  effect it has on the NPCs is not predictable.)

  I suspect this game is going to end up in the romance
  genre, but as far as a I played it, it was basically
  an action adventure in which the protagonist was entirely
  passive. Perhaps that's a convention of the romance genre,
  but it's generally considered bad dramatic storytelling,
  and I think it works even worse in IF. (The beginning
  was better.)

  I abandoned it for the superlinearity, but it's well-written
  and a pretty solid implementation so it still scored pretty
  well.

  score: 7, time 0:30, status: abandoned

No Time To Squeal
  At first I thought it couldn't possibly be intentional, but
  this game rips off Adam Cadre in a surprising number of ways:

  - Textfire Golf in the first scene
  - Photopia-like linearity and vague plot-connection
  - Shrapnel's restart trick

  The "restart" trick should be a lesson in not what to
  do with your game design. Or else remove the 'restore'
  option, or something. Sharpnel's "restart" was brilliant--
  no matter what you typed, you got 'restart', but your
  restart wasn't REALLY a restart.

  In NTTS, your restart isn't really a restart, but you
  have no way of knowing that when you get to the prompt--
  therefore you have NO REASON to type restart over, say,
  restore. Especially if you had, say, saved the game.
  Especially when restore worked fine.

  This was enough to make me quit the game right then,
  when I checked the walkthrough and discovered why I
  was stuck.

  Eventually, I went back to it and kept playing. I got
  stuck very near the end, and got this lovely experience:
  I did something which caused an NPC to kill me. I get
  the normal lose-message and the 'restore/restart' prompt.
  Just as I had the other several times I had gotten this
  message and prompt, I typed 'restart'... but hey, this
  time it restarted instead of continuing. (It only restarted
  the current section, at least--but there was no way I
  could tell that I should 'restore' that time.)

  It turned out I was missing an object, and I thought it
  might have been from a section I couldn't get back to, so
  I went ahead and replayed it from the restart, but it wasn't
  there, and then as I continued through I forgot to get one
  of the objects I had grabbed the previous time, so I died
  again in the same place and just gave up on it.

  I'll break down the scoring for this one:

     10 points
     -1 for lamely clued puzzles
     -4 for the 'restart' nonsense
     +1 for wagner james au reference

  score: 6, time: 1:30, status: abandoned

The Gostak
  Lies somewhere between "Lighan ses Lion" and "For a Change",
  but it lies more on the Lighan side, a kind of game which
  I'm not personally interested in. (I didn't try to decipher
  Lighan, either.)

  score: 5, time: 0:03, status: abandoned

Lovesong
  score: 3, time: 0:10, status: abandoned

Best of Three
  Well, this was sort of like having a conversation. It
  seemed kind of a goofy conversation that I wasn't totally
  thrilled to be participating in--a certain degree of
  intellectual snobbishness. This was no doubt
  intentional, but it distanced me a bit from the
  player character-not so much because of an immediate
  disconnect with her thoughts, but rather because I
  didn't like the NPC very much but had to play along
  with the PC's feelings. (It would be a radically different
  game if it let you play your own feelings--perhaps a
  more interesting game on one level, but clearly it
  would be vastly more work, so I'm happy to let this
  stand.)

  A few glitches here and there, but it still felt like
  I was doing something new and different (having a
  conversation, really, no fooling, with my input making
  a difference--the conversation in Galatea was more
  of an interview than a conversaion, although I think
  there are still vestigages of that here--it's still
  much easier to quiz the NPC than, say, vice versa)
  and there was enough of a mystery to explore that I
  stuck with it.

  score: 8, time: around 1:00, status: completed

2112
  I complained about the object-in-the-first-room in "Bane of
  the Builders" above, but at least in that game you could go
  back and get it.

  score: 3, time: 0:20, status: abandoned

All Roads
  Neat story, minimal interactivity. I'll reward the story
  with my non-voted score, and penalize the lack of interactivity
  by not offering any more detailed feedback.

  score: 8, time: around 0:35, status: completed

To Otherwhere and Back
  I had wondered whether somebody would try to sneak in a
  walkthrough comp game in this comp; by "sneak in" I mean
  write a game that you might naturally be able to solve
  without appealing to the walkthrough, and would, as much
  as possible, try to not be obvious that things were the
  way they were because the walkthrough called for it.

  This game wasn't that.

  I drew the sword too soon (I was doing the walkthrough
  from memory), couldn't figure out how to put it back, and
  then tried dropping it, lost, and wasn't allowed to
  undo from the restart prompt.

  score: 4, time: unknown but brief, status: abandoned

Moments Out of Time
  Lack of paragraph formatting (neither indents nor blank
  lines) is annoying. An object which says "(which is empty)",
  which actually contains an object despite my understanding
  of that sort of object being one that would not imply
  any non-visible contents at all. And a timing puzzle a
  la Zork III. Plus the whole thing is a relatively
  motivationless exploration, which is just not my cup of tea.
  I'd score it higher as a not-my-cup-of-tea if it weren't
  for those odd game-design choices mentioned above.

  score: 5, time: unknown but short, status: abandoned

Silicon Castles
  There are all sorts of other things IF-y that could be
  done with this scenario.

  Obviously the developer is a competent programmer (despite
  the bugs with column b and castling), and I suppose to
  a lot of people in the IF community this might be an
  impressive achievement, but to me it's like programming
  chess in any language: thoroughly researched and documented,
  merely requiring programming skills. Inform is one of the
  worst possible target languages for the challenge, since
  chess is very computationally intensive.

  Is it a game? Yes. Is it a fun game? No, especially since
  I suck at chess enough that a game with two moves of lookahead
  can trounce me. Is it IF? No.

  score: 3, time: 0:15, status: resigned

an apple from nowhere
  totally linear, not an engaging story

  score: 4, time 0:13, status: finished?

Stick it to the man
  I hate color syntax hilighting.

  Now that I've played Emily Short's games, conversations
  like this just call out how fake the characters are:
  there's a dead body, and I get a list of conversation
  choices. I pick "Look, a dead body!" and get back a
  response along the lines of "Holy cow, a dead body!".
  And then... I get all the remaining conversation choices,
  and conversation continues as if there were no dead body.

  score: 4, time 0:10, status: crashed

The Coast House
  Great, the player character is curious about the mystery...
  but I'm not.

  Grammar problems in the first room description.
  Rooms with unlisted exits.

     >LOOK UNDER BED
     You find !

  score: 4, time 0:10, status: abandoned

Fine Tuned
  Jaunty fun for a while. Some really nice touches (get
  hat and give it to MacDougal). I'm not sure I like the
  combination of a small number of rooms and every-few-turn
  teleporting for the driving sequence.

  Insanely buggy. "BLOW HORN" works, "HONK" errors.
  Random "[** Object number 62 has no property mel_enters
  to read ]" due to a daemon I suspect. And our favorite,
  fatal stack overflow, from "ASK PROF ABOUT SALOMONDER".

  I crashed without a save game, so I quit.

  score: 6, time about 0:45, status: chapter three crash

Goofy
  score: 2, time 0:10, status: abandoned

Stiffy Makane: The Undiscovered Country
  Just not my cup of tea I suppose; I even dug up the
  MST3k'd SM as suggested, and didn't get that much
  entertainment from it either. In the case of SM:TUC,
  though, I get the feeling that what's being parodied
  is a whole X-Trek genre that I don't know anything
  about, so I'm in no position to judge it. Then again,
  I doubt Chris Crawford fits in with that genre in the
  first place, so who knows.

  score: 5, timeabout 0:30, status: abandoned

The Cruise
  Too many rooms.

  The most beautiful moment of any game in this comp:

     >SIT
     [long, eight-paragraph monologue from another
     character, assigning you a quest]
     Your score just went up 5 points!
     Okay, you're now sitting on the barstool.

  Of course, the good wizard just claims he's the
  good wizard, and you go off on his mission when
  for all you know he could be the evil wizard and
  your quest will release the minions of hell. But
  hey, what's an adventurer to do?

  Then you're required to go to the dining room at
  a certain time. If you don't go, you lose, but the
  game doesn't tell you why; it just says "you lose
  because you didn't do what I told you to do", roughly.
  And if you go, at least in the first two turns, nothing
  interesting happens. That is sufficiently horrible
  game design that I punted.

  score: 4, time: unknown, status: abandoned

Vicious Cycles
  A neat concept: a justified violation of the
  "don't learn from dying" rule. (Of course, dying
  doesn't require restart/undo, so you're not violating
  the real rule, "can't be required to lose the game
  to learn crucial info".)

  Unfortunately, there's a bit too much 'stand around
  doing nothing while the backstory is explained to me'
  in the other half of the game.

  And some problematic game design with the tight
  time constraints, which made it so that some of the
  slightly "guess-the-verb" puzzles, if I guessed
  wrong, I ran out of time for solving the puzzle.

  But, hey, it wasn't superlinear. This game probably
  leverages the medium of interactivity better than
  any of the others in the comp. So I'll let the
  problems slide.

  score: 8, time 0:50, status: completed

Schroedinger's Cat
  From my notes: "Wow, I totally don't get this one."

  After I played it, I joined some discussion about
  it on IFmud, and discovered that if I let other
  people do all the busy work of collecting the data,
  it was mildly diverting to form a model of the
  underlying mechanism. However, with no actual
  explanation for the eventual model--no analogy to
  the real world or even weird physics--and with no
  game there, just a toy, it's hard to feel any more
  excited about it than I did originally, and my
  score remains unchanged.

  score: 3, time 0:08, status: played

Earth and Sky
  Nice setting, nice writing, and a solid implementation.
  Some annoying game design: making the player wait
  (z'ing through long lectures); the "chop down tree"
  model of combat, requiring seven-to-ten shots to
  knock down the enemy, when even three is at the
  limit of boring.

  Low marks for being super-linear; and super-brief means
  its baseline isn't very high. I felt like I had spent
  more time reading the instructions on how all the
  conversation interfaces worked than actually
  conversing.

  score: 6, time: 0:30, status: finished

The Last Just Cause
  "That was no dream, here take this lantern!"

  score: 2, time: 0:05, status: abandoned

Shattered Memory
  score: 2, time: 0:15, status: abandoned

Triune
  Sigh, another game that mentions some of the room
  exits, but not all of them. Of course they're in
  the status line, but I never look there since it's
  so far from the normal reading point.

  There seemed to be a lot of locations with no real
  point. Things like the two-turn-death-by-snake-bite
  suck since (I assume) they're not solveable in the
  intervening turn (unless you have the correct object),
  so you're just teased with the seeming possibility
  of a puzzle you can solve, that really isn't. Or
  maybe it is. There is no way to know.

  Motivationlessness made me disinterested.

  score: 4, time 0:20, status: abandoned

The Isolato Incident
  A nice mood and style. The weird semi-coherence reminds
  me again of For a Change, although the author is going
  for something rather different.

  I think I'd give it a 6 or 7 if it were more solidly
  implemented--very lacking in scenery objects and there
  are a lot of messages which don't change when the state
  of the object involved has changed.

  score: 5, time 0:30, status: finished

The Chasing
  This is one of those games that gives you a top-level
  motivation, but no direction as you begin. As a result,
  I spent 75 moves accomplishing nothing at all.

  Weird experience with entering the magician's house and
  having sudden reference to "the spirits testing you" as
  if this were something I already knew about.

  Generally it was inoffensive, but it didn't hold my
  attention--clearly there was stuff to do but I just
  wasn't interested in doing it.

  score: 4, time: 0:15 (over eight hours), status: abandoned

The Evil Sorcerer
  If I'm going to be teleported clear across the map,
  it needs to be more explicit than an after-the-fact
  aside in the seeming middle of a conversation:

     "See? Not so hard, is it?" Julia asks, after
     having led you onto a ledge in a different cliff.

  From notes:
     no clue what the hermit wants
     yay, it was a random message that I happened not to get

  This is REALLY BAD DESIGN (tm). It's really annoying
  when there's a book that you know has the right answer
  but you have to keep reading and hoping the answer will
  show up at random (previous comp game Nevermore), but
  in this case you don't even know that sitting around
  will reveal an answer.

  Ten billion items lying around but a relatively small
  (default?) inventory limit so pointless map wandering
  ensues.

  If you don't want your perfectly tolerable game to
  receive a score of 4, please include a walkthrough,
  otherwise players may decide to quit after experiences
  like this:

     >TIE HAIR TO MAGNET
     You tie the hair to the magnet.
     >GET COIN WITH MAGNET
     I only understood you as far as wanting to get the coin.
     >GET COIN
     The critter looks too dangerous.
     >PUT MAGNET ON COIN
     I didn't understand that sentence.
     >FISH COIN WITH MAGNET
     That's no a verb I recognize.
     >PUT MAGNET IN HOLE
     There is no more room in the hole.
     >PUT MAGNET ON COIN
     I didn't understand that sentence.
     >LOWER MAGNET
     Dropped.
     >GET MAGNET
     Taken.
     >SWING MAGNET
     There's nothing sensible to swing here.
     >TOUCH MAGNET TO COIN
     I only understood you as far as wanting to touch the magnet
     on a hair.
     >HOLD HAIR
     You already have that

  I was probably just barking up the wrong tree, but with no
  hints or walkthrough to tell me that...

  score: 4, time: 1:00, status: abandoned (score=33, moves=486)

The Test:
  score: 2, time: 0:10, status: abandoned

The Newcomer:
  score: 2, time: 0:07, status: abandoned

You Are Here
  From my play notes: "well, it's an amusing re-creation of a
  mud in IF form, but it's just not very fun, is it?"  (I
  co-administrated an LPmud for three or four years.)

  score: 5, time: 0:15, status: abandoned

Colours:
  score: 3, time: 0:09, status: abandoned

Jump:
  score: 3, time: 0:05?, status: finished

Stranded
  From my notes:
    Well, obviously a lot of work was put into the
    pictures, but there's just too many locations
    and too many instant death traps--worse yet,
    not-quite-instant-death-traps that take another
    turn before you die, but don't seem to be
    solveable despite giving you that intervening
    turn.

  score: 4, time: 0:20, status: abandoned

Fusillade
  In general, this game has LOTS of missing adjectives
  and synonyms.

     First the long cold thing. Has to be twisted.
     >TWIST LONG COLD THING
     I don't see any cold here.
     >TWIST LONG THING
     Turning the long cold thing doesn't have any effect.
     >TWIST THING
     The process is heavy and laborious and tiring, but
     ...

  It's also superlinear, the epitome of the
  series-of-one-room-games. In fact, it does this
  horrible hand-holding technique, like the pool
  resuscitation scene in Photopia (which integrated
  it into the story, and only did it that one time),
  prompting you with what to do. At one point, I
  saved the game to go do something else, and when
  I came back, in the middle of the section quoted
  above, it was impossible to continue, because there
  was no way to get back the prompt telling me what
  to do next. (See also Night Guest, which might have
  had the same problem but fortunately I never
  restored.)

  Similarly superlinear is the false choice: accept
  or challenge--selecting challenge says 'nah, you
  really want to accept'.

  score: 4, time: 1:00, status: abandoned

Kallisti:
  score: 2, time: 0:20, status: abandoned

The Cave of Morpheus
  Ok, I will give this game this: the introductory sequence,
  where things are kind of askew in strange ways and you're
  forced to do things you wouldn't ever do in real life works
  really nicely.

  Unfortunately, this game hits on a game-design no-no that
  continues to piss me off every time I encounter it: a
  dream sequence wherein if you die, the game ends, despite
  there being no reason this should stop the live (non-dream)
  protagonist's life and story. (In this case, in fact, the
  dream is a recurring dream.)

  Rooms often have unlisted exits along with their listed
  ones, and there's an at-a-computer-sequence where the
  commands you type are literally ignored; those two things
  plus that above drove the score through the floor.

  score: 3, time: 0:20, status: abandoned

Carma
  I think this is the first reasonably successful multimedia
  IF work I've played--the previous comp game Six Stories was
  a decent (and polished) attempt but it had some flaws.

  Carma is nearly the quintessential superlinear game in this
  competition, but unlike say Fusillade it gives the player
  the occasional choice (which won't make much difference in
  the long run, though). Still, it's basically limited in its
  interactivity. But it makes up for it with cute cartoon
  characters and a story for the grammar nazi in all of us.
  Well, in me, anyway.

  score: 7, time: 0:45, status: abandoned

Invasion of the Angora-fetish Long Names
  Another mud! This one with real time combat!
  score: 2, time: 0:15, status: abandoned

SURREAL
  score: 3, time: 0:08, status: abandoned

Film at Eleven
  Yay! I have motivation! An explicit goal, at least. I liked
  this game because it had a somewhat novel idea for the
  overall game setting, even if its execution wasn't
  particularly perfect.

  It seemed to me that some of the puzzles weren't very fair,
  but that may have been my own fault for not examining the
  world very thoroughly--something about the game just failed
  to engage me and I was pretty sloppy as I played it. I had
  to go to the walkthrough several times, although I did find
  an "easter egg" alternate solution to one puzzle.

  score: 6, time: 0:28, status: finished

Volcano Isle
  No introduction, no goal given--the implication seems to be
  that it's just "collect all the treasures". I didn't play
  for long enough to pass an authoratative judgement on the
  game, but it looked like it had some incredibly unclued
  puzzles. So: no motivation, puzzlefest, and impossible
  puzzles.

  You start in a room with a bunch of objects in a boat.
  "TAKE ALL" will not take the objects from the boat. TADS
  doesn't seem to understand "TAKE ALL FROM BOAT". You can't
  get in the boat so that you can then type "TAKE ALL" from
  there. *sigh*

  score: 4, time: 0:12, status: abandoned

And that was all they wrote.

SeanB
