Necrotic Drift [Text Adventure]

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Kim di o text adventure istiyorum diyen!

Ahanda size text adventure ve oldukça da güzel bişi. Necrotic Drift interactive fiction, text adventure oyunu
Oynamadan önce HUgo yazılımını indirip kurmalısınız.
ama ebadı büyük değil 1,24MB
http://www.ifarchive.org/if-archive/programming/hugo/executables/hugov31_win32.exe

ve de Necrotic DRİFT
http://ifarchive.flavorplex.com/if-archive/games/hugo/ndrift.zip

uzun bi review

Necrotic Drift

From: Sam Kabo Ashwell
Review appeared in SPAG #38 -- September 28, 2004

TITLE: Necrotic Drift
AUTHOR: Robb Sherwin
EMAIL: beaver SP@G zombieworld.com
DATE: 2004
PARSER: Hugo
SUPPORTS: Hugo interpreters
AVAILABILITY: IF Archive
URL: ftp://ftp.ifarchive.org/if-archive/games/hugo/ndrift.zip
VERSION: Release 1

Necrotic Drift contains all the elements you'd expect of Robb --
bittersweet schmaltz, randomised combat, human, sympathetic characters,
tangential epigrammatic title, brilliant squick-out humour, big
textdumps and a streak of geek a mile wide. There are plenty of
references to previous Sherwin games, particularly Fallacy of Dawn and
Chicks Dig Jerks. It's his biggest and most skilful game to date.

Big, but linear. You have an intro section (near-isomorphic to the
Fallacy of Dawn intro), then another intro, then a run-up, and *then*
the game proper starts. After that, you have an endgame and an epilogue.
At most significant steps, there will be a great big textdump; I don't
object to these too much, but they certainly add to the game's apparent
size. Nonetheless, it plays relatively quickly; most of the puzzles are
pretty straightforward, and the game gives you a pretty good idea about
what you should be aiming at next. (Sometimes this is a little
heavy-handed, as in the bit where an ally starts clearing a barrier and
suggests you look around for items that might be useful beyond said
barrier; generally they're pretty good, though).

Compared to previous games of Robb's, it's much more technically sturdy;
not too many awfully obscure puzzles, no jagged edges a betatester
should have caught, better implementation all-round. The old problems
are still there, though; the one item you need to use in a room is
generally strikingly prominent, scenery objects are often very flat and
unresponsive. Of course, the scenery is brought alive very well in room
descriptions and so on -- it just doesn't handle interactive poking
around too well. One or two puzzles seemed very illogical or badly
flagged up, and I underwent a lot of frustrating death at one point
before seeking out hints; most were along the lines of 'you just found
this item so it must be the one for the next puzzle'. I also note that
Sherwin has at last developed his combat system above the 'I attack, but
miss, the skeleton! The skeleton attacks and hits me!' level that so
thoroughly killed A Crimson Spring, albeit only to add amusingly awkward
battle-cries. Of course, since the thing is a D&D parody, formulaic
combat descriptions are par for the course. I doubt it'd lose much to
audiences unfamiliar with D&D, however; everything that needs to be
explained is explained, and there are contextual jokes but not really
any in-jokes.

The game managed to convey a pretty damn good feeling of the urgency of
the situation and the trepidation about moving into unknown areas. On
the other hand, when the annoyingly low inventory limit forced you to
scuttle back and forth looking for abandoned items at far corners of the
mall, this effect was lost somewhat. (This also tended to happen during
Dramatic Confrontations, which were kind of undermined by having the
ability to run off and come back multiple times). There's a principle in
IF theory that, in character-driven games, descriptive writing should
convey as much about the character and his world as about the object
described; this game goes joyously and superbly over the top with this
principle. This compensates for the lack of physical detail to a great
extent. The confinement and triviality of the Mall (and the intimate
knowledge Duffy has of it) give us a very good idea of how narrow
Duffy's horizons are. While in FoD New Haz felt like a sprawling
metropolis or at least a very big town, here it feels like a
claustrophobic little dead-end.

The multimedia works and it doesn't work. The use of images has improved
significantly; in FoD, the images were used kind of inconsistently, with
some inventory items having objects and others not. In ND they're
sharper and better used. There are a great many images, they contribute
greatly towards setting the mood and establishing characters, and it's
obvious that a monumental amount of care and effort has gone into them.
Some images of characters still seems a little awkward and
obviously-posed, however. Subject-matter makes things tougher, too --
even if you've got a multi-million CGI and modelling team behind you, if
you're depicting the undead you've only got a one in three chance that
it won't look ludicrous. Given that, much of this was pretty impressive,
and where it was cheesy it was forgivable.

The use of music wasn't as good. I found it kept fading out into
nothing, and then when a new piece of music was triggered it'd cut in
jarringly. I get the distinct impression that Robb, like quite a few
other authors, is trying to use IF as a poor man's cinema; perhaps
consciously so. The thing is, music is hard to get right with IF. Both
are non-static media, but IF's non-static nature is interspersed with
static blocks of reading time, particularly in this game. You'll get a
dramatic chord and -- whoa, a zombie image! -- but you'll have read down
three lines of text before the zombie *actually* jumps you. It's like
watching a movie where the dialogue is properly in sync but the music is
a few beats off. I think music has applications to IF, potentially, and
I can see that this is more or less going in the right direction -- it's
aimed at atmospheric background mood-setting stuff, and as such it's
well-chosen. Those cut-ins need work, though I don't know how you'd
manage that ideally.

The Love Interest is, zombies aside, the real focus of the story, and
it's handled well. It becomes pretty obvious that undead-fighting --
much like D&D -- is a great excuse for Duffy to ignore his relationship
crisis. The relationship stuff isn't deeply original or earthshakingly
moving, but it's very human. It works least well, perhaps, at the more
tender moments -- much like the protagonist's life-affirming speech to
the demon wherein he explains why he plays D&D. Sherwin is eminently
comfortable with crafting humour, but it feels that there's less craft
in the heartfelt stuff. No shame in that; writing heartfelt stuff is
hard. The typical authorial error (thinking heartfelt stuff needs *less*
craft because it's heartfelt) doesn't look as if it's been committed
here, but I think this is an area that could do with being addressed.
Modern audiences have been saturated with tacky pop-culture
representations of the subject; it's a cliche minefield. Re-used phrases
and sentiments seethe around it. They need to be avoided like the
plague.

I played in tandem with Jacqueline Lott; she objected vehemently to the
unavoidable ending. The problem I have with it is that the emotional
guts of the piece are kept at arm's length from the player, either
entrenched in the middle of big passages of text or as involuntary
actions. For Jacqueline, this was annoying because you couldn't
influence the outcome; for me, it was annoying because it made me less
involved with the outcome and hence cared less about it. Inevitable
outcomes are fine in my book, but the bulk of an IF story (and hence its
major developments) should really be interactive.

Now, I loved Fallacy of Dawn to bits, and this is clearly a better game,
on many many levels, than Fallacy of Dawn. (Sorry for going on and on
with the comparisons, but this game invites comparisons, plies them with
hors d'oeuvres and wine, and then suggests an S&M orgy to them once
they're good and drunk). So why do I feel more indifferent towards
Necrotic? Mostly, I think, because it's not enough of a departure. We
have crudely wisecracking geeks in a grimy, dystopic future,
well-employed graphics, a sassy girlfriend and a crass best buddy who
follow us about... to be honest, it feels more like a liberal remake
than a sequel. And y'know how remakes are never looked on as fondly even
if they're technically superior? Right.


From: Jeff Howell
Review appeared in SPAG #38 -- September 28, 2004

The first thing a potential player is likely to notice about Necrotic
Drift is its size. 38MB is a huge filesize for what we've become used to
thinking of as 'text adventures'. It's worth the download if you've got
even reasonably fast dial-up, and anyone with broadband shouldn't even
be thinking twice about it. Included in this package is a .pdf manual,
presented as a copy of 'Which Witch?' magazine. It's a nice feelie, and
although the language is needlessly colorful in parts, is good for a
chuckle. Instructions for playing the game are included in the .pdf, and
integrated nicely as part of the magazine.

The game starts off fairly slowly. The opening scenes really don't mesh
well with the rest of the game, and some of the dialogue and two of the
main character's friends are truly unpleasant. I can see the point to
some of what goes on here: it does establish some of Jarret's (the main
character) personality and his situation in life. All of this is in
retrospect, though. At the time, it just felt sort of forced,
occasionally amusing, and largely pointless. The beginning of a game
should grab a player's interest, not make them think "I'll give it a few
more turns to see if anything more interesting happens." The game does
pick up nicely, thankfully. The writing is superior after the slow
start, and both the audio and graphical aspects, not normally seen in
IF, add a great deal to the experience.

At its most basic, Necrotic Drift is Survival Horror in IF style. Jarret
can only take so much damage before the game ends, and there are a
number of 'surprise' attacks in darkened corridors. But there's a lot
more here than blasting everything in sight, primarily because standard
weapons aren't in great supply. This is IF, and in IF, puzzles rule.
There are specific ways to get past every obstacle, all very logical,
but all requiring that the player pay very close attention. There's a
lot to notice, many small details that the author has added that really
add to the atmosphere of the game, and many of those are important. More
than likely, you won't manage to get through on the first attempt, but
that makes success that much more satisfying when it comes.

None of the puzzles are all that difficult on a second attempt, if the
player is paying attention, but that's not really the point of the game.
The conversations and encounters drive what is, at it's heart, a story
about relationships. There's as much being said here about loss, love,
and friendship as there is about beasts that go bump in the night, and
that's what really marks Necrotic Drift as a superior game. The plot is
linear, and there seem to be some unavoidably tragic parts, but that's
okay. The story is a quality one and if there's some sadness to go along
with that, well, sometimes a bit of sorrow is necessary to make the
happiness seem that much more valuable.
kaynak:http://www.sparkynet.com/spag/n.html#necrotic

bir de moments out of time diye bir text adv. var ama onu henüz oynamadım.. onun da linki şudur
http://streamdive.trenchcoatsoft.com/games.html

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