Here's a bit of a thing. I happened to look at my "game design" folder, which is of course full of random snippets of text dating back years. The oldest file is from 2003:

alchemy-game

Research: enter a book "room", use standard IF search techniques to explores, find "exits" to other pages or other books. Books can be hidden in "real life", or just not indexed in the library. Similarly, a section of a book might not be findable until you find a reference elsewhere, and search for it.

(Library is a real-life room; the books you're familiar with are pulled out, handy. Reading one enters the book "room".)

Alchemical operations form a deep skill tree. As you perform operations successfully, they're added as single action. ("distill alcohol", "resublimate thiotimoline"). Lots of room to explore. Operations have logic, but also exceptions.

Time limit? If you screw up, or take too long, your supplies and tools are restored to their original state -- new day begins -- but you retain your skills. Maybe even get pre-made supplies of stuff you're very familiar with.

Operations take particular amounts of time? So there's an optimization problem, even for skills you've learned. (Ameliorated by pre-made supplies.)

No idea what the story looks like. Something about the reason why you are taking this alchemical test and have an infinite number of retries.

That's all I wrote back then. It's old enough to have MacOS-Classic line breaks instead of Unix/OSX line breaks.

When I started planning HL in mid-2010 I started a new notes file, but I left the old one in place. Obviously some of that old stuff went out the window. Although now I like the idea of books as environments which you "enter" to do research. Maybe I'll try that again someday.

For more fun, here's a snippet from the 2010 notes file:

Planetary types: (A marcher doesn't normally visit these, but they're familiar from the academy and from sailor's stories. The protagonist has never seen one before; he's only visited Gaian lands, and rarely left the Retort except in inhabited places.)

• Gaian lands: where people can live.
• Hadean lands: rock, little or no air, "night" sky. (The Moon, Mars.)
• Helian lands: like Hadean lands, but with a big honking sun. (Mercury.)
• Erebian lands: like Hadean lands, but covered in ice and with little sun. (Pluto, etc.)
• Thalassan lands: oceans (of something) and atmosphere. (Titan, probably.)
• Aeolian lands: only clouds visible. (Jupiter, but also Venus.)
• Hermetic lands would be fairyland or Atlantis. Places populated by the Wise. The term is from popular fiction rather than science.

All of that is canon, but it's only briefly referred to in the released game.

I'm holding onto the hermeticlands.com domain as a placeholder. For what, I don't know yet.

It's IFComp time! And I haven't played any of the 58 IFComp games! But I have been playing down my backlog of random Steam walking-simulator-and-other-exploration games. So here are some more notes.

Metrico+: Stylish little platformer which attempts to substitute observation and cleverness for twitch-jumping. I don't think it completely succeeds. That is, it succeeds at avoiding too much reflexology. You have to combine jumps, shots, horizontal and vertical motion, and so on in various ways to solve the puzzles. However, the specific effects of those actions are left for you to determine in each level. This produces a slogging rhythm: every level begins with a bunch of pointless button-flailing as you try to guess what's connected to what. I wish the "infographic" style had been used to convey that information.

The Vanishing of Ethan Carter: Begins with an outright apology for its gameplay flaws. ("This game is a narrative experience that does not hold your hand.") I respect that.

So my expectations were low going in, but I wound up deciding it was quite strong. Remember when I said Everyone's Gone to the Rapture needed one more element? Ethan Carter had the right number of elements to grab me. Pretty scenery, mostly exploration, simple puzzles -- or interactive pacing challenges, if you like. Just enough of them. Story threads that felt disparate but looped together at the end. Surreality.

Ilamentia: Another "bunch of disparate levels" abstract platformer. It brags of having 96 levels; I solved the first and then stopping making progress. I tried five or six other levels, failed at all of them to various degrees. Clearly not on my puzzle wavelength.

NaissanceE: Yet another abstract platformer. This has a thoughtfully minimalist chiaroscuro style: nothing but light, shadow, and cubes. Artfully composed! However, an endless maze of that with no story gets wearing. I eventually hit a point where I had to chase a racing dot, which worked poorly on my controller, and I decided it was time to give up.

The Guest: An unrepentantly old-school first-person adventure. I could have reviewed this in 1998. Okay, in 1998 it wouldn't have been free-roam 3D and it probably would have been a bit longer, but otherwise, yeah.

Anyhow, perfectly pleasant puzzle excursion. Did not overstay its welcome. Many puzzles verged on being arbitrary, but generally on the right side -- I only had to look at one hint. Not much story but so what? Enjoyed.

The Ball: Very much in the first wave of post-Portal physics-gimmick platformers. The gimmick is okay, but the graphics feel a few years pre-Portal instead. The designers try to keep varying the scenery and the puzzles, but there's only so many ways they can mix up their elements, and there's no story to speak of. I found myself getting weary a quarter of the way through; gave up.

(If the later chapters have more elements mixed in, I apologize, but I didn't have the stamina.)

Rise of the Tomb Raider: I wanted more Tomb Raider, and that's exactly what this was. More of the 2013 game. Lots more. I enjoyed all the pieces, and yes, I spent the time to scour every corner of the game world. But by the end I was wishing the game had been half the size for half the price.

I played on easy-combat mode; I would have skipped the big fights entirely if that had been an option. If there are any non-combat acrobatic-climby-puzzle games out there, please let me know. (More acrobatic than Submerged, ideally.)

...I feel like I should talk about the story. (It's credited to Rhianna Pratchett, whom I trust to stay at least a notch above the usual videogame plot-stodge.) The 2013 TR was full of dramatic events, most of which involved Lara Croft's friends and allies dying horribly in front of her. Over and over. Well-written, but a strain to play, honestly.

This iteration avoids that trope, and does some quiet subversion on the TR standards. For example, there's a Lost Tribe who are good guys; quite a lot of the story involves Lara helping and being helped by them. There's a pair of villains who are not only characterized but have some plot arc.

However, these scripted scenes are still embedded in a Tomb Raider game. So on the one hand you have Lara Croft, junior explorer of the world's wonders; and on the other hand you have Lara Croft, bloody-handed slaughterer of armies and destroyer of every antiquity in arm's reach. (The friendly tribe is up against faceless mercenaries and faceless zombie Byzantine warriors. Lara gets to murder scores of both.) (As for the antiquities, we never see Lara close any of the fragile reliquaries and sarcophagi she cracks open.)

Conclusion: AAA gaming is just not kind to the creative writer. I bet you're all surprised to hear that.