"TRUNKED puts you smack in the middle of a contemporary noir thriller where you are the antihero. It's essentially a point-and-click adventure game, but with words instead of graphics. Like a choose-your-own-adventure, as in most Twine games, you click certain highlighted passages of text to make a choice or otherwise continue the story. Text is actually the perfect medium for this particular game, since for most of it you are trapped within the dark confines of a car trunk (or "boot", for those English speakers across the pond).
The story is engaging and the tension is high, which is a tribute to the clear, screenplay-like writing of the game's author, Ian Daffern. You wake up in a trunk with no memory of how you got there. Using your wits and the contents of your pockets, you must figure out how you got into your current predicament and how to get out of it. Then you must face your captors. There are puzzles (albeit fairly simple ones), an inventory, important choices to be made, and a twisty story to uncover. And, like most adventure games, it is an essentially linear story, but it's a doozy.
TRUNKED is a great example of how Twine can be used to tell an exciting story while offering the player meaningful choices that change the experience. I love many of the personal and experimental works made in Twine (and I have no problem accepting the more non-traditionally interactive pieces as games), but it's good to see that the tool can still be used to create an old-fashioned adventure game that almost anyone can enjoy."
Dino Caruso of Caruso comics took the time to speak with us for the site Comic Book Interviews:
"DINO: What’s the secret origin of Freelance Blues?
IAN: The secret origin of Freelance Blues is watching too much Buffy the Vampire Slayer and having too many crappy jobs. That’s a lot to do with it. But there’s a lot in there that is just the DNA of the stuff Mike and I like in common. The hard-scrabble underdog side of Peter Parker, really bizarre monsters like the kind Thor used to tap with his hammer, and a shared belief that bosses are not looking out for you. That’s about half of what we’re talking about at any given time, so it’s no wonderFLB evolved out of it.
As a comic–it’s always been to create something ambitious that we can tell any kind of story we want in. And I think we’ve done that."
"The shining moments of FLB3 &4 are the brief-but-beautiful interactions Lance has with his sisters in phone conversations cut short, or looking at maps of jobs they have plotted out for him all across the continental U.S.A., bringing the relationship to such genuine and sweet focus that I can’t help but think “what a nice thing for them to do.” A monologue mid-issue 4 that wedges all of Bunkman’s job-hate into an just-ill-fitting-enough-to-be-charming Hamlet homage reminds us that the guy is not just family-oriented, and has enough personal layers that the fact that he keeps on these job quests is a stronger testament to his character than any narrator could have offered."
"Freelance Blues is smart, allegorical and quite in tune with the fact that too few of us get paid for plying our natural talents, even if that skill set extends to killing monsters."