I absolutely adore the like 15 minutes of this game I've ever managed to get through before quitting in frustration at the completely unsignposted puzzles

I thought highly of this game in high school and have about zero interest in replaying now to see how I actually feel about it, but what I do remember tarnishes it (and would tarnish it more or less depending on how intentional the discomfort is, but again, I'm not replaying the game, so).

I refuse to mark this game "Retired" or "Shelved" but every time I come back to it I feel kind of anxious and regretful, which is probably not the intended mood for the fun chillin' with furries game.

There's a lot to do but nothing I want to do, really. Maybe I'll be able to convince myself to finish up my recreation of the ni-chome metro station at some point.

My gut reaction to this game is that it feels unfinished, but that's not it exactly; it feels like something was elided, which is exactly what the game's about. All the same, I wish I could've been more engaged with it, because I really like a ton of what it's doing.

One of the best indie IFs ever written. It's amazing how consistently funny Ryan Veeder's parser is, and that comedy is a pivotal part of the game's nuanced overarching small-scale tragedies tone.

Great, evocative puzzles and prose, but at the end it just feels like there's something lacking.

Ashamed to say I played this game. I would be ashamed to say I liked it, but the reason I liked it is because I was in middle school and did not yet grasp why it was creepy.

Glad Cadre disowned it.

1999

This is an entire game built around a gimmick, but the gimmick is a good one and the setting and premise only enhance it.

I like desktop games, and I like detective games, and I like Sam Barlow's games (well, I liked Aisle, which is the only other one of his games I've played up to this point), and as a video editor I like putting video clips in a timeline, and somehow I can't stand this game.

I think the thing that really bugs me about it is just that it's supposed to be airtight, leading you through the story in more or less the same way as everyone else even if theoretically you could get to the ending clips with the right keyword, but I chose keywords that made sense to me and in like two leaps stumbled across end content.

(Sam: anyone who finds a song in your game is going to immediately assume the song is a metaphor for things that happen in the story.)

I tried to muddle through anyways, and got a little bit more complicating context, but the fact remains that the story is not written to be interesting if you know the end, and even if I did go through it the proper way I don't think I'd like it much more. Without giving anything away, what it's about is kinda trite.

Unfortunately, this game does not solve the long-running How To End An Adventure Game puzzle.

It's by no means a perfect game, but no matter what problems it has it's still a noir adventure game starring a rabbi, which is terrific.

I can't get over how clever a decision it is to use the utilitarian setting of a computer desktop, seemingly built for staid realism, as instead a vehicle for expressionism.

Shocking how well this game turned out, given...[gestures vaguely at entire development cycle]

It is a crime that this game has been delisted and it is a further crime that its biggest champion in the relisting fight is apparently Nick Robinson.

Fuck that creep, but you do absolutely deserve to be able to play this absolutely bonkers game that solved a budget problem by inventing an entirely new game mechanic and an off-the-wall literal coma dream premise to justify it.

The joke of planning heists by playing VR simulations of them is so good.