I just got around to playing this one. I actually liked the characters a lot, and always being automatically dropped into the next location without having to use the map was cool. But yeah, it lacked in execution. Straightforward click-through, and it feels a bit like this story was written before all the updates of 2020, was put on the shelf for a while and released now without changes ;)
What I mainly came here to ask is this: after listening to my scathingly political prison ballad in full-power Correspondence mode (inasmuch as the Growler could manage), Mr Wines angrily shouted at the stage: "We husband! We document! We do not partake!" and I’m afraid I really have no idea what it is talking about here. Can anyone explain?
Oh dear, this was an exceptionally dull story. I was truly surprised by how boring and tedious it felt given that I’m quite interested in anything related to the Correspondence, and into Revolutionary stuff as well. But this whole next-next-finish mechanic… I felt more like installing software than playing a story. Why couldn’t at least the preparations be presented non-linearly?
As others have mentioned, it was also somewhat jarring that the story hardly took notice of player qualities, such as having returned the mind of Tristram Bagley, to bring up the worst offender. I really couldn’t get immersed into the story because of all these things, it kind of felt like I’m clicking on next to turn the page but I’m not part of the happenings, only a reader. If that was some sort of artistic decision, well, I cannot say it worked. This is supposed to be interactive fiction, so while I’m willing to go along with the conceit of ‘there’s this chap you’re famous friends with, tell us why’ the rest had exactly zero interaction except the few thematic choices.
If there’s an ES I have absolutely no desire to replay, this is the one.
Oh, I must add that I actually enjoyed the writing for what it’s worth. That’s why it was so shocking to have to endure the mechanics.
I believe I shall look back fondly at this one. It was woefully lacking in interactivity and horribly linear, not like your regular ES at all. But taken simply as a story, I loved it, and now the small crowd of Rubbery Men who have installed themselves in my kitchen and make it hard to get to the fridge has one more to their number, and that can’t be a bad thing.
What I mainly came here to ask is this: after listening to my scathingly political prison ballad in full-power Correspondence mode (inasmuch as the Growler could manage), Mr Wines angrily shouted at the stage: [i]snipped to avoid double spoiler tag[/i] and I’m afraid I really have no idea what it is talking about here. Can anyone explain?[/quote]
My understanding was that this refers to the Master’s arrangements with the Bazaar, that is, collecting love stories. They are not supposed to arrange those stories or take part in them, as explained for example in the Jack storyline, only document them. It clearly cannot refer to partaking of a Master’s own domain - everyone knows Mr Wines is definitely a partaking sort in that regard… ;)
I am irrationally annoyed that the story doubted my character’s ability to write a song. She’s the Poet Laureate who got exiled for an Opera; I am pretty sure she can write a decent song.
EDIT: … continued playing. Now I am irrationally annoyed that the story does not acknowledge her being pretty familiar with Correspondence and the fact she does know the different ways how it can be expressed (having played Cricket).. In addition, while ignoring this, she suddenly is important enough to be asked to join a Master…?
Other than that, I can just echo what others have said: nice writing, too little actual choices and too linear. edited by Desirée on 2/6/2021 edited by Desirée on 2/6/2021