Reviews by Kinetic Mouse Car

It’s late at night and mr. leg can’t sleep. Solution: find milk.

This is an extremely short Inform game. Lunch break game? More like a snack break game. Acquiring the milk involves one puzzle.

The author nailed the prose. The lowercase letters and grammar effectively convey the uncomplicated world of mr.leg. I was impressed with the minimalist approach and how it informs the narrative and gameplay. The peaceful nighttime ambience was memorable, along with the cover art.

In conclusion, mr. leg needs some milk demonstrates what can be achieved when you focus on only cultivating what you need to tell the story. Whether this succeeds is often hit or miss, but the author of this game makes it work.

Described as a "sad divorced man fic," six of cups is a series of six scenes from a man's life that include a rocky marriage, a divorce, and a strained relationship with a daughter, all of which are all linked with the recurring theme of drinking (or is Card #2 supposed to be a pickle jar?). The game is also a choice-based hybridization of Unity and Ink.

The player is presented with a spread of six cards, each adorned with an image of a glass. Clicking on a card brings up a scene from the protagonist’s life, and these can be visited in any order. Instead of the game ending, the player stops once they’ve seen everything.

The writing is brief and concise. I was impressed with the amount of depth it conveys. The composition of scenes varies. One scene may consist of a few short paragraphs. Another may be a haphazard string of text messages. Instead of a detailed story, the game works to establish tone- a tone that says more than enough about the state of the protagonist's marital life without further detail.

"Okay," you say, dismissively. A dead fly floats in your drink.

I found it easy to get invested in the story and characters. There’s a sense of cynicism that persists and drives the narrative forward without feeling heavy-handed. I will say, I am itching to know more about the implications of the final line in the game:

The combination of Unity and Ink works well for the game's purposes because it adds complexity visually and implementation-wise, taking the act of reading about moments in a person’s life and giving it dimension. The visual presentation of the cards on the screen makes a strong first impression, while a range of colours, patterns, and graphical elements tailor to the mood of each scene. The format adds a degree of interactivity. Clicking on the cards, for one thing, but also superficial ways of getting the player to interact with what they read, such as having them tap the screen to “send” the text messages.

The simplicity of the six card spread works so well in allowing players to bounce around a timeline at whim. The tense conversation with the daughter, (Spoiler - click to show)Phoebe, can immediately be countered by going back to the moment in college before such responsibilities existed. And vice versa. In exploring the timeline this way, the player is encouraged to contemplate the protagonist, his choices, and how they intersect with the lives of other people.

Arguably, six of cups is more like an experience than a game, and yet, I found it just as engaging as anything else I’ve played. The concise writing, visual design, and simple but consistent implementation work together to result in a strong slice-of-life game that I have a hard time backing away from.

What comes to mind when someone says that a game is "cozy?" There is no single answer to this question, but Marshmallow Nights certainly qualifies. Cozy inside and out.

It’s a short Twine game about spending time with your best friend on a cold, brisk night. It begins outside where you and your friend are sitting on a hill. Your friend pulls out a bag of marshmallows and challenges you to a contest. I can't really discuss the game further without spoiling everything but just know that this is a friendly contest. Regardless of what you choose in the game, it always ends on a soothing, cozy note.

The visuals enhance the overall quality. It features a cream-coloured background with large grey text and light purple links. At the top of the screen is an animated graphic of a moon above a mountain landscape. The graphic’s purple/grey colour scheme harmonizes with the rest of the game's appearance, cementing the cozy effect.

My rating stems from the fact that it could be a little longer, even as "micro" game, but it does make the most of what it has to offer. There is a potency in the writing and how it sets the scene for us. No matter what, Marshmallow Nights will lead to a satisfying outcome.

(edit: formatting)

You're Gone is a linear custom choice-based game where a protagonist sends text messages to a dead loved one.

This story features anthropomorphized characters. Our protagonist, Marcus, is a coyote. His wife, a cat named Lee, recently died of cancer. His therapist recommended journaling about his feelings. He decides to do this by texting his deceased wife.

Gameplay
Gameplay involves clicking on a "send" icon to send text messages to Lee's phone. The player doesn’t choose what to send. They simply go along for the ride. While Marcus uses this to express his inner thoughts, the messages are addressed to her. For your convenience, a transcript of the gameplay can be found on the author’s website.

Visuals
You’re Gone replicates the appearance of a chat messenger with its layout of green time-stamped text bubbles and light grey background. The text box and paper airplane icon in the corner complete the look. While the game has minimal interactivity, these visuals make the player feel like they are messaging someone.

Story
Marcus’ text messages revolve around his volatile relationship with Lee's mom and her step-dad, Jun. Marcus notes how Lee always seemed to hate them but never explained why. Instead, she would avoid them at all costs.

From day one, her mom looked down on Marcus because he came from a different background and blames him for her daughter's death by being an inadequate husband. The fact that Lee left everything in her will to said husband certainly doesn’t help.

As the drama winds down, Marcus starts to follow his therapist’s advice and channels his energy from grieving Lee to working on himself and moving forward. And yet, the player doesn’t feel ready for the game to end.

Characters
Despite the deeply personal nature of Marcus' narration, his character feels rather inaccessible. We really don’t know much about him. We see him go through the various stages of grief and there is clear character growth. However, this growth can feel overshadowed by the increasingly explosive encounters he has with Lee's mom and Jun.

This extends to Lee as well. While she is the central focus of the game, she can get lost in the narrative. There are moments where Marcus talks about “reminiscing on the good times,” but hardly shares these with the player. If Marcus were to offer further reflection on the woman he loved (and continues to love) so we can get to know her as well, the game would have more dimension.

And yet, the game never fails to convey the depth of his love for her.

Also
What’s interesting is how there are two versions of You’re Gone. The story file that accessed via a “unbox.ifarchive.org” link contains a version of the game with human characters. Here, Marcus is a white man, and Lee is a Chinese woman. However, these changes are superficial and do not affect the gameplay as they both effectively illustrate the mom’s bias towards Marcus.

I think that the anthropomorphized is the "final version," and my guess is that the author wanted to move from racial themes to something more simplified, such as a canine husband with a feline wife, so the player can focus on Marcus' grieving.

Final thoughts
You’re Gone is a poignant glimpse into one person’s grieving. Though it’s bittersweet, it ends on an optimistic note. It handles a tough topic without becoming too dire. The minimal interactivity fits with the game’s premise of a protagonist sending text messages, but unless you’re interested in the story you may be turned off by the gameplay.

I played this game a while back, and I’m starting to think I didn’t give it the attention it deserved. I zipped through everything, looking for some action, and ended up missing the essence of the game which stems from the story not the gameplay itself. I now appreciate the game more than I did before.

If you are looking for a simple game about grief, loss, and moving forward that doesn’t involve a lot of detail, You’re Gone is a great option.

Your favorite bar is closing down, and tonight is the goodbye party.

The author notes that the game is based around the experiences of LGBTQ people in today's world. While there are occasional moments in the game where this subject is directly mentioned, it leaves things open-ended for the player.

Gameplay/Visuals
The game features anthropomorphized characters. You are a dog named Snuggles. We begin outside our favorite bar.

The game is made with Bitsy and makes a great first impression with its visual design. It kind of feels like playing a video game. There are graphics for the scenery, and all the characters appear as animal avatars.

Gameplay involves visiting the different areas of the bar while observing and talking to characters. Conversation is menu-based, and you travel by using the arrows on your keyboard. Once you’re satisfied, leave the bar to end the game.

All of this creates an immersive experience. Because of this, however, some players may be left wishing that the gameplay had more things for them to explore.

Story
You Don't Have To Go Home, But You Can't Stay Here seems to be an incredibly personal game for the author, so I'll refrain from overanalyzing it as I often do in my reviews.

There are two themes that stick out. I’d like to briefly discuss.

First: As you get older, you become more aware of the distance between yourself and younger generations. Snuggles views the younger patrons with the nostalgic sentiment of, "I was once like that," and reflects, with some sadness, on how this kind of place was not available to Snuggles when they were younger. Now, they identify more with the older patrons and even joke about this with some friends.

Second: Venues that offer a respite from mainstream bias and hostility are limited and at risk of being closed due to costs- as is the case with Snuggles’ bar- and other factors.

There aren't a lot of spaces for people like us as it is.

The closing of the bar goes beyond feeling sad about losing a place to hang out. It's a gathering space for community. Its closure brings the worry of what else will be closed or taken away. Then what?

There’s a lot to think about.

Final thoughts
You Don't Have To Go Home, But You Can't Stay Here is a bittersweet game about saying goodbye:

Not to a single person, but to a place and the people who brought it to life.

The bar clearly means a lot to the characters. Our conversations with them give us a glimpse as to how the bar became so loved, and these interactions, though brief, convey insights relevant to our world now.

Ultimately, it is an introspective game. Everything is infused with Snuggles’ own memories and life experiences. It has an unrushed ambience, and I think many people will enjoy it.

Less like a game, more like a reflection, Nineteen is an author's sharing of her experience with suicide and the insights she has gained over the years.

Gameplay is non-linear. It begins with a short but powerful sentence:

I was twelve the last time I tried to kill myself. That was nineteen years ago.

This sentence contains links that bring you to different moments in her life, and these are woven together through the links scattered across the narrative until we reach the game’s “end.” Depending on the parts you visit, you may need to play the game more than once to view everything.

The author gives us an intimate look into her life and even includes family photos. The details are best experienced through the gameplay in her own words. I’ll just focus on the game’s central theme: the critical role of friendship when struggling with depression.

She recognizes that this is easier said than done and writes about the struggle of not knowing how to convey the kind of support you need. Sometimes you're not even sure of what to ask for, and if you do, there's fear of what your friends may think.

Next, she reflects on how friends can be oblivious of the impact mundane actions can cause, for better or worse. Like when one friend sent her a silly picture of a cat (included in the game!), which was enough for her to want to remain in the moment.

Do they know?

Do they get that they might have just saved my life with that stupid cat macro?

On the flip side, an insensitive comment made by a favorite teacher resulted in feelings of rage- feelings she suppressed until she was alone.

Despite all this, the author concludes that "the only consistently valuable tool I have found has been my friends," and this realization is the product of over a decade of life experience.

As the game draws to a close, we receive this key insight...

Depression convinces you that you have no power. Sometimes you need friends to lend you some of theirs.

...only for the author to take this one step further.

There is always someone who will lend you power.

If you can't think of anyone else, think of me.

The player can then click on "think of me" to email the author! This also serves as the game’s ending. And what a brilliant way of doing so!

I’m not sure if it’s still active, though. The game was created in 2013.

I will say: the game’s implementation could be smoother. Some passages have no links, interrupting the flow of the story. There is no "back button," and the “Rewind” feature on the side of the screen only led to, “No passage available.” It may not occur to players to use the "back" button on their browser, forcing them to restart (like I did until I figured it out). Also, the text is rather small.

To conclude, Nineteen is a short Twine game that leaves a memorable impression on the player due to the author’s candid writing and heartfelt discussion on the difference a support group of friends can make. Her approach of paying it forward by reaching out to players is especially admirable. Play it and see what resonates with you.

Anhedonia is a Twine game about depression and how it saps the meaning in one's life. It appears that it’s a reflection of the author's own experience. Everything is told in first person. That said, I will refer to the narrator as "the protagonist." Consider this review as how I understand the game. I hope it reflects what the author had in mind when they created this work.

Gameplay is linear. I'd describe the gameplay as a train of the protagonist's thoughts. While progress is made by clicking on links to move to the next thought, the use of cycling links in some passages add interactivity.

Anhedonia keeps the word count to a minimum, and there are simple but well-designed drawings that add polish. Some of the art is even animated! The visuals also pair well with the font. The dark grey text almost looks like handwriting and there are red links. Fade-in-fade-out text effects are sometimes used to tell the story.

The protagonist looks at the difficulties of living with depression and mental illness, which include the societal belief that you just need to "try harder," medical professionals not taking you seriously, concerns about affording medication if you lose your insurance, and more. But the game's focus is centered on the concept of "anhedonia," which also serves as its title.

"Anhedonia" is an inability to experience pleasure and is often associated with depression. While the game does not explicitly provide anhedonia's definition, it's conveyed through the story. The protagonist no longer finds joy in not only things that once made them happy, but also in things that reinforces one's awareness of being alive. This includes physical sensations that engage the body which now feels muted.

The game does, however, define another word:

semantic saturation:

the phenomenon whereby the uninterrupted repetition of a word

leads to a sense that the word has lost its meaning

Next, the game says that being mentally ill is "not a question of semantics but of ontology."

If I understand this correctly, the protagonist is drawing a parallel between the loss of meaning within a word, and the loss of meaning in their life because of depression, both of which involve some form of repetition: the repetition of a word vs. repetition of depression in everyday existence. The result? The loss of meaning. And loss of meaning can imply that pleasure is lost as well.

I think the game summarizes itself when it ponders,

how does one separate illness from self

A recurring theme is how the numbness of daily life can cause one to be desensitized to what it's like to feel numb to begin with. If depression is all-encompassing, it becomes difficult to identify where "you" start/stop and where the mental illness begins.

I'm going to leave it at that.

Now, I encourage you to play it so you can experience the story for yourself and form your own interpretation. Gameplay is only a few minutes long, and I think the low word-count will appeal to players. Visually, if you're looking for inspiration, Anhedonia is a great example of a Twine game with a simple yet polished appearance.

I imagine that creating Anhedonia was no easy feat for the author, and I appreciate the time and effort put into the game’s creation.

As the title suggests, the game takes place at the Human Resources Administration (HRA) in New York City. You are an alien sent on a mission to sign up for SNAP, also known as the Supplemental Nutrition Assistance Program, as part of your studies on human culture. Disguised as a human, you hope to see how SNAP helps people dealing with food insecurity!

Or at least how it’s supposed to help people.

Gameplay
The game takes place in a waiting room where we follow instructions on applying for SNAP. There are no puzzles. As the player we primarily observe the bureaucracy involved as we navigate a kiosk, dismissive staff, paperwork, and a line of people.

Our protagonist has the ability to “freeze” their surroundings in a temporal bubble of green light, rendering everyone and everything frozen in time. This is done to take notes and make observations before returning to reality.

I want to give this game a higher rating. Its exploration into its subject matter is strong, but as a game it ends too abruptly. The turning point happens after we’ve submitted our paperwork.

Story
Rather than focusing on a plot, A Visit to the Human Resources Administration strives to highlight the bureaucratic inadequacies that hinder obtaining social services such as SNAP. And it does an effective job at this.

For example, if you choose “Sarah Traballano-Williams” as your human name, you discover that the kiosk does not have a key for the dash symbol. A staff member says it’s okay to omit it… only for this to clash with the application process several minutes later.

"Your name in the paperwork says Sarah TraballanoWilliams, one word, and your ID says Sarah Traballano DASH Williams. Your name needs to match."

One small snag that can setback your progress. And what about needing to show a photo ID to apply for a new photo ID because your old one got stolen? This is the reality people face in real life.

The game points out that humans’ need to eat does not get put on hold until you fill out paperwork (again), reenter your info online (hopefully you still have access to a computer and internet connection), and possibly wait three to five business days for such and such to be processed and approved.

And what happens if, “sorry, the system isn't working right now?”

When the system fails, struggling people have to contort themselves and navigate unnecessary obstacles to make up for this failure.

SNAP
What initially drew me to this game was its coverage on SNAP.

I have never experienced food insecurity. However, I became aware of SNAP when I participated in a volunteer/learning program that included the “SNAP Challenge.”

In this challenge, we went to different stores and filled a cart with what we would buy if we were on SNAP. We then compared the hypothetical groceries from each store to see how one’s choices were affected by pricing and item availability. A common question was "do I buy higher quantities of food with lower nutritional value, or do I buy less food- and therefore have less to eat- but with better nutrition?" How would this factor in if you had a family to feed? Or lived in a food desert?

It was eye-opening. And yet, I still have a lot to learn.

Now, I thought that the game would portray some of that. Instead, it’s merely on applying for SNAP. And that suits the game’s purposes just fine. Besides, we end up applying for Cash Assistance instead (since the system isn’t working right, we’re told). I’m just curious at what observations the protagonist would make if they had a chance to purchase food with their newly acquired benefits.

Further discussion
The author, a social worker, offers some powerful takeaways that are discussed at the end of the game. Studies can reduce vulnerable people (such as those dealing with food insecurity) into data points. This quantification distances research from the realities endured by its subjects, and we see fragments of this with the game’s protagonist.

In a way, there’s a systemic suspicion towards individuals who apply for help, a default assumption that you’re trying to exploit the system… until you jump through every hoop to demonstrate otherwise. People need to eat. You don’t need studies to prove that.

If food is central to human existence, why are the machines to get SNAP lacking basic functions such as a working text interface?

Questioning the legitimacy of programs (and committing to them) that help reach the objective of no one going hungry makes little sense.

Characters
Initially, I was expecting a story where an alien finds themselves on Earth and must receive benefits to survive. The game takes a different route by using an alien PC sent to Earth on a mission. They don’t actually experience food insecurity firsthand. I do think the investigative approach of the protagonist’s mission and their status as a being from another world allows us to examine SNAP and its infrastructure with a more neutral, straightforward manner. The player is made more aware of real-world issues.

However, the most compelling aspect of this game is how it considers the protagonist’s actions as being potentially problematic. They choose to participate in these missions because they want to "experience alien cultures directly." They are well-meaning and make the vital observation that for a system that is meant to help people, it is not designed with this objective in mind.

The game also name-drops some of the protagonist’s colleagues, but they have no greater effect on the story.

Visuals
Keeps it simple. It uses the default Twine appearance of a black background, white text, and blue links. Everything is easy to read and neatly spaced.

Final thoughts
I'm glad this game exists. It's an equal blend of light-heartedness and seriousness to convey important ideas about food insecurity and the bureaucracy that gets in the way of addressing it. Plus, the alien character adds flair.

As a social worker, the author brings valuable insight to this game, and I enjoyed their concise yet descriptive writing. They nailed the bathroom scene with its dwindling liquid hand soap and germy hand dryer.

I do wish the game was longer (or at least less linear) and allowed the player’s choices to have a larger impact on the story’s trajectory. That way, we have a chance to see the impact of our choices. And what’s up with (Spoiler - click to show)Skrzyyyyt? The protagonist doesn’t seem to like them.

Nonetheless, A Visit to the Human Resources Administration is well worth your time.

You’ve been told to keep your blood pressure under control. One way to do this is by walking. Fortunately, the air is crisp, and you have access to a lovely beach.

Gameplay
A winter morning on the beach can be played with a keyboard or by clicking on links. The gameplay is simple. You walk as the game counts your steps.

However, you must pace your walking so you don’t wear yourself out… but linger too long and a seagull will come swooping in to cover you in droppings, resulting in a game over. That’s about it. It seems like the author intends the seagull to be an active dodge-the-seagull-puzzle. Instead, it ends up being a frustrating mechanic.

As a result, the gameplay mostly consists of walk, walk, walk, walk, walk, take a break/take a deep breath/admire the view, walk, walk, walk, walk, walk, take a take a break/deep breath/admire the view, you get the idea.

The location titles are merely Zone 48, Zone 49, Zone 50, etc., and while I can understand how this may be borrowed from real-life zoning laws, it feels sterile for an IF game. These locations’ scenic detail is limited, and examining the scenery that is present puts the player at risk of being pelted by the seagulls. I just wanted to look at some shells.

A strength of the game are the beach’s signposts that contain messages on environmental conservation and human achievement. These are found every few steps.

During the summer season it is used to display notices and bans, while in winter it is replaced by citations on the protection of the marine environment.

This reports:

"An understanding of the natural world and what's in it is a source of not only a great curiosity but great fulfillment."

- Sir David Attenborough

Who doesn't know Sir David Attenborough? Born in 1926, he's THE voice behind BBC and Netflix nature documentaries, and a huge advocate for all types of life on earth.

This signage was a nice, contemplative touch. And yes, I read this in Attenborough's voice.

Story
There is an uplifting story at the end. I won’t spoil it but just know that (Spoiler - click to show)walking eventually takes you to a walkway with more content. I recommend saving the game once you reach this part.

Visuals
This isn't your typical black and white Inform parser game. Instead, it uses dark green text against a black screen, a combination that was harder to read. I did like the beach imagery behind the game. It added a soothing, calming ambience.

Final thoughts
A winter morning on the beach has a lot of potential for being a chill, meditative exercise in taking care of oneself. Instead, the author tries to incorporate a timed puzzle that distracts from the game’s casual atmosphere. With some refinement I could see this becoming a successful walking simulator.

It’s time for school but you’re not feeling it right now.
Or ever, really. But you and Hanna have no choice. School it is, then.
Oh, and Hanna is a ghost.

Gameplay
Contrary to what the game’s title suggests, Hanna is not the PC. You play as a high school girl named Jing who goes to an international school in Singapore called the American Independence School. Unlike Jing, Hanna expresses some excitement about going to school. Soon, though, we see that this excitement is masking underlying pain as we face the daily mundane and rocky reality that is school.

The start of the gameplay really sucks you in. It captures how Twine’s interactivity can be used to make a more dynamic scene. We begin in Jing’s bedroom.

You get up.

You are in your bedroom, which consists of a desk full of books, a desktop computer, a bed, and a cabinet.

Hanna eyes at your schoolbag.

Here, "books," "desktop computer," and "bed," are all links that expand the text to reveal more information about each item while clicking on the cabinet link moves the gameplay forward as Jing gets ready for school.

While the scene’s outcome is not impacted by your choice to examine the scenery, the links provide an extra sense of interaction that make it a little more interesting than if it were one big room description. It also engages the player with Twine’s choice-based format. Why read when you can click on links?

This structure continues for the rest of the game as we venture into Jing's school. After your first playthrough, the game allows you to skip ahead to crucial parts in the gameplay to save time. Much appreciated.

Characters
(I’m going to do characters first, then story.)

Jing
We do not learn as much about Jing as I hoped. After all, she is the starring PC. She’s Chinese, lives in an apartment, her parents both work (we never meet them), likes to use art and books as a portal for exploring sexuality, and has befriended a ghost named Hanna! Alright, we learn a fair amount. But her character is intriguing. More would be nice.

It would also be nice to have more context about Jing’s everyday school life. While I understand that school day structure differs across the globe, American Independent School has a somewhat bizarre (to me) daily schedule. (Spoiler - click to show) It offers cafeteria lunch twice and holds a separate student council-led karaoke party between Trigonometry and European History class. Actually, that doesn’t sound so bad. Ultimately, however, I felt out of touch. (If this really occurs in real life, thank you for diversifying my understanding of how teens go to school in today’s world.)

Clara
Clara. Ah yes. Clara does not censor what she says. She just says it without considering her surroundings. Or those nearby. She also thinks that she is doing you a favor by letting you know what she has to say.

Consider: a group of young people with that one peer who, to everyone’s delight and dismay, confidently and loudly talks about daring and explicit things in a causal social setting. Just when you think the conversation has leveled off, bam, the peer in question takes it up several more notches and everyone around is just, “oh wow.” That’s Clara. The scene in the (Spoiler - click to show) hallway after homeroom (and onwards) showcases this perfectly.

She embodies the “mature” girl persona who claims to have a resume of sexual experiences. She also comes off as trying to convince herself that she knows the ropes and that her confidence on the subject matter is unwavering. A bystander (Jing/player) is then used as a sounding board as she pelts them with a mix of "advice," tidbits of knowledge that demonstrate credibility, and personal experiences involving sex and other adult-like activities.

My favorite sentence in this game:

You pretend to agree and hope Clara's done with her TED Talk.

Clara gives some intense TED Talks.

When it comes to her relationship with Jing, Clara does not come off as being the classic High School Mean Girl who breaks out in hives at the mere sight of you. Maybe that is not what the author intended, but that’s the impression it left on me. If anything, Clara sees herself as friend rather than foe.

Clara reads more like a bossy, we’re-friends-since-we-see-each-other-daily type of “friend.” One who considers herself to be your friend in a self-serving manner or considers you to be a friend more so than you feel in return. She latches onto you like a leech while insisting that she knows what’s best for you. Especially when it comes to sexuality.

It gets uncomfortable. Clara reassures Jing about her dating desirability. Because Jing is Chinese, Clara keeps advising her to embrace “popular” stereotypes by acting more submissive and “pure-hearted” since that apparently is what attracts dudes. Clara may be trying to help in her own way, but ultimately this persistent fetishization overwhelms Jing. And most likely the player.

But as the story’s antagonist, she does not seem so bad after all… Until your final encounter with her where she (Spoiler - click to show) goes full homophobe and transphobe. Everyone’s (Jing/Hanna/hopefully the player) response to this is more, way more, than just, “oh wow.”

While Clara excels in her character role’s persona, there are some scenes that feel- even for her- more like an endless rant of shocking content that is independent from the scene itself. I wish we could explore her character in other ways than just sex-fueled rants.

And as for bringing an umbrella, (Spoiler - click to show) careful kids, you can poke an eye out. I applaud the implementation of Twine in this scene.

Hanna
Hanna is a neat character- she’s a ghost! - with a tragic past who still brings the perspective of a modern teen unimpressed by the school system and its expectations. She does not necessarily “haunt” the player. Instead, she tags along to offer commentary, friendship, and support without sugar coating your collective circumstances.

Before the game even begins, we are presented with a passage that leads to the game’s menu. The passage keeps it brief: (Spoiler - click to show) Hanna was a teen who jumped off a hospital rooftop to commit suicide. Later we learn that in life, she identified as transgender but never received support or understanding- quite the opposite.

Here’s the deal: The gameplay ultimately leads up to a (Spoiler - click to show) pivotal scene where Clara (as I mentioned earlier) starts rambling about an unnamed individual during which she unleashes homophobic/transphobic commentary. First time around, I struggled to piece it all together.

In this scene, Clara explains (claims?) that she was engaged to a young man her age since they were kids except that he expressed interest in dresses, dolls, and feminine self-expression. She mocks this which only further traumatizes Hanna who is also transgender.

Then it clicked.

Almost.

I need someone to spell it out for me so I can be sure: Was Clara engaged, in whatever form it may have been, to… Hanna? Before her death when people refused to recognize her identity? (Is it true that her previous- I hope I’m doing this properly- name was Alex? I only ask since Clara mentions the name once in her rant.) Talk about a plot twist. In fact, I initially failed to make the connection that Hanna knew both Jing and Clara as former classmates since middle school. Scatter-brained on my part.

Also, part of the reason Hanna transitioned was to avoid being drafted into the army since male Singaporeans are drafted into the National Service when they turn eighteen. This fact completely went over my head. It was not until I read the explanation in the content warning that I connected the dots- and it gives you some interesting things to think about since many international kids do not have to worry about this requirement. I just feel that this part of Hanna’s backstory could have been clearer.

There is one thing that I did not figure out. During Clara’s rant, we see a link that says, “Hanna’s wailing floods the whole room.” Clicking on it expands it into the following:

why am i not dead yet why am i not dead yet why am i not dead yet why am i not dead yet why am i not dead yet why am i not dead yet why am i not dead yet

Hanna is dead. There’s something I’m clearly missing.

NPCs (besides Hanna and Clara)
Finally, some of the remaining dialog almost seemed melodramatic in the sense that there is not much context around NPCs’ behavior. Like (Spoiler - click to show) Harold's outburst when you ask him what is wrong during homeroom. If I had not known better, I would have thought these characters were pre-teens who just entered middle school.

Nonetheless, they are still intriguing.

Story + Themes
The story takes place over one school day where we get a glimpse of daily life for Jing and Hanna, even if Hanna is not an actual student. She almost functions as an extension of Jing which is close enough. Besides Hanna’s backstory, Hanna We’re Going to School is largely character-oriented rather than wielding a complex storyline. There are, however, plenty of themes to go around.

There are several slice-of-life themes about youth and adulthood that could appeal to a wide range of players. However, the intended audience is relatively narrow since many of the themes are explored through brief, sudden romance-oriented encounters that may not appeal to everyone. This runs the risk of the player not absorbing the key themes showcased in a scene if they are skimming past certain parts.

For instance, (Spoiler - click to show) Clara's attempt to matchmake you with Dan was surreal and disjointed. Is she serious? It seemed like an unbelievable exchange… unless it’s set in reality more so than I realize. While this specific scene made me raise my eyebrows, I could see how it ties in with the game’s discussions on the intersecting expectations placed on young people.

Much of the game is focused on the idea of adult expectations of who you marry, the achievements of your parents, academic performance, job prospects, and your ability to look casually desirable the entire time. I feel like the (Spoiler - click to show) scene with Dan is meant to shine light on several of these issues, but from a gameplay standpoint it leaves you a bit bewildered. Because of this, players may find it less relatable.

Also: I'm not asking for more in that scene between (Spoiler - click to show) Clara and Dan in the school library, I'm really not (no shame if anyone feels otherwise), but it came out of nowhere and felt completely out of context. Even for this game. In the school library? I would say it is the only truly explicit scene in the game and is completely avoidable.

Visuals
The game uses a basic set of visuals that opt for something besides the typically default Twine appearance of a black screen, white text, and a standardize font (you'll know it when you see it). There is nothing wrong with using the default, but when authors choose to use a slightly different background colour or multiple font styles, I notice.

Hanna, We’re Going to School features a grey screen with white text and blue-purple links. There is also a wine-coloured panel on the left side of the text body. It contains the “under” arrow that lets you go back a passage. Basic stuff but looks good.

Final thoughts
Hanna, We’re Going to School is a bold, insightful game that bravely questions the intersecting issues that young people experience in the eyes of society and their fellow peers as they start to transition into adulthood. Jing witnesses this from a unique perspective.

She does not share the seemingly carefree lifestyle that her peers put on display, nor does she possess the social status wielded by peers from more influential families. But Clara’s attempts at “mentorship” provides a closer glimpse of the privilege differences within the student body. This slightly departs from the typical formula of popular girl vs unpopular girl while still showcasing the various forms of harassment that can occur, especially when it comes to gender expectations.

Meanwhile, Hanna’s own story raises implications of the harm done when one’s gender identity is mocked, especially if one is still trying to find themselves. As we see, Hanna (Spoiler - click to show) experiences some uncertainty about her motives for transitioning while simultaneously feeling at home with identifying as a girl. Her character is fun, quirky, and honest, making her a highlight of the game.

However, there are some drawbacks. The game could use more clarity for the plot along with additional worldbuilding shown in the gameplay. Right now, I feel like I know more about Clara than Hanna and Jing which is too bad since Hanna and Jing are a fantastic duo. The explicitness of some scenes may also drive some players away.

Otherwise, it is a strong slice of life piece about high school and teenage futures.

Further reading
These are NOT spoilers, but since my reviews are so darn long, I’m spoiler-tagging it to save screen space. I write a lot.
(Spoiler - click to show)
Hanna, We're Going to School reminds me of an unrelated graphic novel called Anya's Ghost. The premise is similar in the sense that it depicts a teenage girl who navigates life and high school while being followed around by a ghost of another teen girl. While that may sound like a carbon copy of Hanna, We’re Going to School, I can reassure you that they diverge in story and subject matter. But the way Hanna coasts along with Jing and offers commentary just reminded me so much of the duo in Anya’s Ghost. If you like this game, you may like the book, and vice versa.

Also, if you are interested in further exploring the social dynamics of an internationally oriented school setting, consider the ChoiceScript game Learning to Be Human. It is an educational game about bullying where you play as a humanoid robot tasked with making connections with middle/high school aged students from different countries. While it is not a particularly thrilling game, it is more interesting than it sounds. Just note that it is strongly character centered, so don’t expect an in-depth storyline. The game covers subjects on popularity, body image, bias on cultural heritage, and inclusion. Recommended if you were drawn in by the peer social interactions found in Hanna, We’re Going to School.