Planetary Quarantine

It has pretty good writing, and I did enjoy this. My first three tries ended in failure in attempt to solve The Case (there’s only one that mattered, the rest are inconsequential), my fourth got me closer as I began to see the pattern, and it took me seven tries in total to understand everything about it.

Not bad, but as the others said, it could use a lot more meat to beef up the story. The girl, for example: Why is she there (since she’s supposedly real)? What is her role in the conspiracy? There was never any mention of her, and even when you solved the case it’s doesn’t explain much except congratulating you on succeeding. After that, you’d be introduced to a new world (it’s a choice) - except that you never actually get to do anything since it’s supposedly ‘another story for another time’.

Wish I could feel more ‘godly’ ‘servant’ ‘prophet’ or ‘Me’ about the story, but there’s really not enough there to provide that feeling. Which is a damn shame, because the writing is as mentioned above, pretty damn good. The style is just right for this type of genre.

So, a little walkthrough for The Case. Choose to shoot, and choose to shoot either the girl or the grenade. Solve the little puzzle afterwards (it reads confusing, but just follow proper logic and you’ll be fine) and you will win. Try keep a high Diligence and Investigation if you’re playing good guy. I’m not sure how to work things as a corrupt quarantine officer, and didn’t try because there’s not enough incentive to do it.

A bug: When switching in and out the stats screen and story, on the skeleton card case, sometimes it’ll switch to the lifestyle coach one (and back, if you keep doing it) for no reason.

I’ve only played a little of this so far, so I’m skipping the previous comments. I have two comments.

  1. A few times I’ve noticed some confusion between “discreet” and “discrete.” “At least until the official explanation is handed down. You can count on me to be discrete.” Is the one I have on my screen at the moment.

  2. Maybe I’ll see further into the game, but right now the premise seems a little unworkable. Without mindwiping everyone and starting brand new, there’s no way to sanitize everything objectionable. Especially since you’d need censors to censor the player censor and the npc ones. Censors all the way down.

Ok, I did another playthrough. I was going for an investigation-heavy run, but I went in to accuse Debussy…and though I flubbed the investigation, it is the first time I’ve found the Hadley’s World branch of the story.

My biggest gripe with it at the moment is that the Hadley’s World mission (A) is sort-of hidden and (B) cuts off quickly as a semi-dead end. It has a lot of promise, there just doesn’t seem to be much payoff, especially for a somewhat “hidden” branch of the game.

Two other thoughts:
(1) The game needs some work and feels like a decent beta, but it isn’t “garbage” by any stretch of the imagination. There is definitely vision here…just not an entirely fleshed-out one.
(2) I agree that the game is a bit too trial-and-error heavy.

There are many flaws in this title, but I still think it’s above many of the “meh” CoGs and HGs because of the writing and premise. I definitely think Andrew should have had this beta tested first, though; that’s a must for any gamebook, especially with first time authors.

The interesting thing is it was beta tested (quite some time ago now), and it sounds like quite a few of the things people are complaining about are things I highlighted at beta… But they’re big things about the structure of the game, so I’m not entirely surprised he found them hard to change.

I think this could do with a 2.0 version that is expanded…it does feel like a strong beta, honestly, or an intermediate draft where an author is stuck on a few points of the story. But I’ll agree…it’s not in my top five (or top ten) IFs, but…

One observation I had in my mind earlier is that even if the “interactive” portion sort of breaks down, if someone has a solid premise and good writing skills, paying $2 for a decent novel is not a bad deal. I’ve paid far more for far less, and I do feel it was worth the $2…but this is in a context where some of the finest IFs would easily merit $10-20 (either at one time or over several installments).

I was pretty disappointed with Planetary Quarantine overall, though I have nothing to say that hasn’t already been said here. Particularly RupertDragoul’s criticism - the Papers Please-esque premise intrigued me, but the game didn’t deliver in that respect.

I don’t regret my purchase, as I’m always glad to support CoG authors…However to be perfectly honest I haven’t seen a good release since Tin Star.

Is there link

I agree with Sneaks and RupertDragoul. Very interesting concept, very disappointing execution. I bought it but couldn’t even be bothered to finish it. Very bland, very meaningless. Didn’t care about the murder I investigated.

It just ended abruptly before anything exciting happened, and I died a boring death. It felt like the game was almost there, it had a lot of good components and good writing, but it didn’t fully deliver at the end.

Hi everyone, this is Andrew Schaefer. The author himself. I would have posted earlier but I was having technical difficulties. I’ll try to leave a few coherent comments:

First off, thank you to everyone who bought/played/talked about the game, whether you ultimately liked it or not. I’d love for everyone to love it, of course, but barring that at least people gave it a look. Any comment (except, perhaps, “you suck, Andy”) is a helpful one. This is all a learning process for me. The worst thing would be for nobody to care at all.

Secondly, I’d never written anything like this before, and holy crap it turned out to be a lot harder than I’d expected. I have all the respect in the world for anyone who can put together a fully-formed, seamlessly operating game that gives the players what they want. PQ was beta tested early last year and I used the superb feedback to make it about 50% bigger and to add a whole bunch of scenes and ideas. I could have continued adding branches to the story tree forever. At least now I’m getting feedback on the finished product which is, what, omega testing?

On that score, however, bear in mind that my philosophy going in was a little unorthodox. (Apologies in advance if I’ve told any of you this before.) If the game plays a little differently than people are used to, that’s not necessarily unintended. If it were up to me, for example, I probably wouldn’t have a stats screen at all. If you’re playing PQ trying to get a certain trait up to a certain number, for example, or even worrying about that number at all, you’re sort of missing the point. There are different storylines and a hard-to-find “good” ending, but the game also strives to just let you see how different approaches result in very different outcomes. It’s meant to be played multiple times and to operate through trial-and-error, as a couple of you said. The pages and pages of text are the point. There’s a lot of stuff in that text, a lot of nifty little ideas and images and turns of phrase if I do say so myself, and they vary quite a bit depending on your choices and even on random variables. If that approach doesn’t work, then that’s my fault.

I only first learned about CoG when I stumbled on Broadsides for my shiny new iPhone a couple years ago. I knew a bit about the subject matter going in, so the first time I played Broadsides I made the “right” choices and retired an admiral. Then I never played the game again because I’d “won” it the first time. (I know, I know, blasphemy. It’s a great game.) I didn’t want to go that route. There’s somebody on iTunes who hated PQ because he played it once – once! – and wound up a nobody farmer and concluded that the game must be flawed and that the outcome is always the same no matter what choices you make. Besides being nonsensical, that criticism sort of missed the message the game was sending him (you made poor choices and life passed you by as a result).

One of my favorite Star Trek: TNG episodes is the one where Q gives Picard a chance to go back to the Academy to avoid getting into a fight where he’s stabbed through the heart. The whole story revolves around Picard trying to do this (so he won’t die of mechanical heart failure in the present) and he’s ultimately successful. Then we go back to the present but, to his horror, Picard’s not the captain anymore. Instead he’s a lowly science ensign because, as Q tells him, by backing down at the Academy he became the guy who never stood out, never took chances, and “never, ever got noticed by anyone.” It’s a great scene and just as powerful a message as some happy ending (which, btw, the episode sort of provides when a laughing Picard is stabbed in the heart after all. Yay being stabbed in the heart!). There’s real value in being shown that.

So PQ tried to do something similar. Create a realistic universe you could really explore, with storylines you could pursue or opt out of and hidden nuggets you could discover to your delight. Making it work is, like we all seem to agree, a different matter entirely, but at least I’m heartened that many people liked the concept and the writing. I’m proud of it and believe anyone who buys the game gets their money’s worth.

I’m already well into my next game and I don’t plan to take the same unorthodox approach. It’s about a World War I infantryman at the Battle of the Somme. You’ll spend six months at the front lines doing whatever you can to survive one of history’s most relentless battles of attrition. I think it’s going to be ab-so-smurfly phenomenal but unless others agree that doesn’t get me anywhere. So I’ll be posting for comments and looking for beta, gamma and delta testers and generally soliciting advice and suggestions from anyone who’s interested. It’s really tough to do these games without a lot of help.

Thanks for reading and thank you again for playing Planetary Quarantine.

A.

@distracteddad
It looks like I’ll have to give PQ another try, then :slight_smile: I was intending on it, anyways, but I’ll probably do it sooner, now :stuck_out_tongue:

Btw, I had some of the same problems with Trial of the Demon Hunter. Many people said it was too short, but failed to acknowledge that they’d only read 20/86K words.

Perhaps there is something to be said about the concept itself? It seems to me that people prefer to have some degree of predictability in the results of their character’s actions so as to give them some manner of control over their character. However, giving too much or too little control both make for an unpopular game. Maybe keep this in mind for your next game?

Sing it. Though in the universe of criticisms, “too short” is a pretty good one to get. It means people were interested enough to want more. Nobody ever said “Gigli” was too short. :slight_smile:

  1. please don’t use smurfly (personal preference:))
  2. choice of broadside is awesome
  3. love that Q episode
  4. I just hated getting stabbed in the back (most of the time) in PQ

Hello Andy,

Good to see you are not upset or deterred by the many negative comments one of which was my own.
The new game you are working on sounds awesome. Ccount me in for testing.

Hi jcury no hard feelings at all. Just be advised that to your comment “No mention who or what was smuggling the information” there absolutely is that info in the game. You just have to find it. But it’s my job, of course, to make it interesting enough for you to want to do that.

And hahaha01357 you’re right about the structure people tend to look for. That’s one reason I found it so hard to write this game and also one reason any feedback is helpful. It’s so enlightening to hear how other people, coming from a blank state, look at your material. It’s like that old urban legend about how the Chevy Nova didn’t sell in Mexico because nobody at GM knew “no va” means “doesn’t go.”

Sorry Pepper. In my new game you only get stabbed in the chest. :slight_smile:

@distracteddad, I haven’t been able to read PQ yet, as I’m spending all my spare time writing my own WIP, but I wanted to compliment you on the maturity of your responses in this thread.

I can’t add anything of substance until I get a chance to read it this summer, but I congratulate you on actually finishing your story and avoiding the graveyard of abandoned WIPs.

@distracteddad

I admire you for taking all the criticism in stride, and I wish you all the luck in the world in your future endeavors.

A game focused on difficult-to-navigate story branches that mostly end in failure is not a bad idea. . . if you can save and load. In CoG, you have to restart from scratch every time, making metagame decisions and seeing the same text over and over. It’s not a huge effort, but it definitely takes you out of it, and if you’re doing it a lot, things get very boring very quickly. Especially if the consequences of new choices aren’t immediately distinguishable and you’re expected to read the same text over and over looking for minor differences. Framing choices in completely misleading ways isn’t good either - whether or not to shoot the girl, for example. You can be warned beforehand that this will activate a defense system, which sounds like an obviously bad decision that you should never take. That you are only warned if you make certain decisions makes it feel like this is useful information you got by being clever - but it is in fact the opposite, and you have no way to know. It is impossible to distinguish the nature of many of the choices in this game, except through trial and error, which is a pain.