the uncle who works for nintendo (TUWWFN and capitalised in some uploads but not in his website) is exactly the kind of IF you’d expect from someone who also authored a game called the bones picked clean and the clean bones gone. The origin of Lutz’s problem with capitalisation is a mystery but he certainly knows how to write in Twine.
This game takes around 15-20 per play through and has five possible endings so if you’re the kind to want to find every possibility, I recommend setting a few hours aside to immerse yourself in this fiction.
In Lutz’s words, his piece “uses a horror framework to think about misogyny and emotional abuse and manipulation”. So even though the title references a company well known for brightly-coloured characters and kid-friendly universes, TUWWFN is a chilling story set in childhood. The misogyny in the piece, admittedly, seems a bit stuck-on for bonus points and is only really present if you go through a specific path but manipulation (of people and of facts) is as clear as day.
If you’re going to read this, I have two pieces of advice. Turn your sound on (hello sound effects), and question everything.
The first thing you do is pick the name of your best friend which is a refreshing change. Normally you’re picking who you are. From there, it matches your general Twine fiction: you’re given a few possible paths to take and you’ll be affecting your ending the whole way. The whole way through, you take the lead and the world around you is affected by your actions.
One interesting innovation used in the piece is Lutz’s use of coding language within the game itself. This gives an extra level of understanding to those who have also used Twine but also has the added benefit of formatting the text differently to the rest of the passage. If you don’t know what I’m talking about, just take a look.
Though Lutz seems to have a few issues with commas, it doesn’t detract too much from the story itself and though the piece does have some interesting innovations, some of the dialogue is reminiscent of everyone’s first two years writing awkward overly-polite conversations between their characters.
That said, the basic scene-setting isn’t too bad. If you’re in the habit of skim-reading IF, you might need to make the effort to read it through. Links to other passages are dotted throughout each passage and can change the reading and the ending you’re in store for. Even if you’re redirected back to the same passage, you’ll find differences in the text if you look closely enough.
Lutz has also cleverly made the game in such a way where you’re not sure if things are broken or if it’s just meant to back you into a corner. Not everything in this game is as it seems at first. Though that sentence could be taken as a motto for this piece.
Though, at the time of writing this review, I haven’t yet gotten all five endings, I would say this game has a high degree of re-playability. The desire to see what choices will lead us where and how you can avoid meeting the same sticky end you already found.
I wouldn’t put this game up there with AAA horror games, but it is a bit spooky and I’d recommend that you read it in a well-lit room with a warm drink if you’re not of a robust disposition.
To see more of Michael Kurtz’s works, visit his website here.