Someone Else's Story

This game was written for the 2022 Goncharov Game Jam. While I am 100% out of the loop on the Goncharov meme, beyond knowing it exists, that fortunately didn’t stop me from comprehending or enjoying this short game. You play as Sofia, whose backstory remains largely a mystery beyond her being under the thumb of a mob boss. Tasked with getting information out of Katya, the wife of Goncharov (said boss’s rival mobster), at a party, Sofia studies and chats with her but is ultimately left with more questions than answers.

Throughout the game, optional links provide more information on people or situations mentioned with brief, evocative descriptions. The choices that exist are which dialogue options you say to Katya, ranging from flirtatious to apologetic, direct to subtle. Which you choose will determine in part the content and tenor of your conversation, especially its ending. I enjoyed replaying to see the different possibilities and gain a little more insight into Katya each time, seeing her and Sofia connect, however briefly, in different ways. In one variation, a line from Katya directly alludes to the title: “This isn’t our story, Sofia.” But while these women may be on the periphery of men’s rivalry and violence, the game itself centers their experience, with Goncharov never making an appearance. Well-written and compelling, this is an excellent little bite of a game—like Sofia, I’m left wanting more.

Told from the point-of-view of Sofia, Someone Else’s Story takes a look at the start of the relationship between two side characters: Sofia and Katya, two women linked to big characters whose actions will drive the “story”'s plot. Spanning a conversation, you were tasked to extract information from the lovely newcomer. Will you managed without her noticing?

Someone Else’s Story is a fairly short game mixing choices, to drive the conversation forward, and hypertext*, to provide additional contextual information to the scene or about Sofia’s state of mind. Each choice provide variation in the next screen, with some even adding an option to the choice-list. The combination of all choices made throughout the game will determine how the conversation between you and Katya ends.

To get information from Katya, you must ask the right questions, in the correct manner. Though you have multiple choice available to you, from flirty to pushy, the type of questions asked may tick Katya that something is up, or may just confuse her. She will comment on the matter, before ending the conversation and leaving for the night. You do not learn, however, whether how successful you were at your task. Though, as Katya warns, when one is this expendable, does it truly matter?
(kinda yes… i always want to know how well i did.)

The game raises an interesting point, hinted by its title. Though you are the main character of this game, this short story, Katya may tell you that you are just a pawn in someone else’s story. You may drive the plot in this beat, but someone - your boss - is pushing you to this point in time, requesting things from you to further his story. You may down the line have a relationship with Katya (not in-game), but it will still be framed around other more important players - your struggles being a continuation of theirs.

Still, the illusion of agency still hods, even after replays. You may not be a major player, but the game makes you feel like your actions actually matter in this story, that they actually may change the course of the night. Even if, ultimately, it won’t - Katya will always try to change the subject, or look at her watch, signalling the end of the conversation. Your efforts don’t feel in vain.

While the game will mention a few important characters to the main lore or themes, the strongest one emanating from this entry is the concept of time. You are limited in time to find information for your boss about Goncharov before he potentially makes a move, to extract information from Katya during the party, before time inevitably cuts your effort short - when the watch strikes “twelve”. But there is maybe a more ominous limitation from Katya’s final remark: the time left before you will get hurt (if you continue snooping, that is).

We’ve now reached the first of a couple Goncharov games in the thon. I’m dimly aware of the provenance here; there was a social-media meme a couple years ago where folks conjured up the existence of a “lost” Scorsese film focusing on the namesake Russian gangster, and then a game jam dedicated to games fleshing out the mythos. I’m not sure how much of the core concepts were set by the organizers, or the meme – I’m assuming at least some of the details of setting and a few of the characters – but suspect that the jam will take the “interpretation of the Odyssey by someone who’s never read the Odyssey” thing I mentioned a couple reviews up to heretofore-unplumbed, kaleidoscopic extremes.

Someone Else’s Story is a short Twine game, and zooms in on one moment that surely must come early in the film: you play Sofia, a woman with some connection to the Italian mob who’s given the task of weaseling into the good graces of Goncharov’s wife Katya at a cocktail party to see what she knows about what the Russians are up to. I found the backstory here somewhat confusing – there are a lot of different characters name-checked, and the details of who you are and what kind of move is being made are left vague – but this isn’t a mystery or thriller where you need to carefully sift through information and make high-stakes deductions. No, all of that setup is basically just there to create background vibes for a flirtation-with-intent pas des deux with Goncharova.

Sexually-charged conversations with an undercurrent of danger are a staple of mob movies, of course, even if the details here would strain credulity if one took the meme seriously (forget the lesbian subtext, has Scorsese ever shot a scene that’s just two women talking?) The game does a good job of playing this trope; the descriptions convey Katya’s sexiness, and the player’s given a couple of satisfying opportunities to take a risk and make their interest known. Meanwhile, while the men’s criminal business is never openly spelled out, the writing conveys the possibility of violence and its potential to swallow you up, too, if you’re not careful:

"'Most people don’t want to get on the wrong side of my husband,' she says. 'But you—you don’t care. I like that.'

"You wonder if perhaps it would have been wise to care."

While there are clearly mechanics that track how much you’re leaning into seduction vs. fishing for information vs. playing it safe and building a rapport to exploit later on, the choices never feel mechanical; the fiction effectively pushes you to try to balance your disparate goals, and it makes sense that there’s rarely a conversational gambit without tradeoffs or opportunity costs. My one complaint about the implementation of the battle of wits is that on my first go-round, it was over surprisingly quickly – the main conversation is just a sequence of four or five choices, so while I thought I was starting out with a cautiously considered opening to feel Katya out, in fact I was just frittering away my scarce opportunities to push forward. But on the flip side, the game’s brevity means it was easy to replay, armed with the knowledge of the ticking clock, and even that ambivalent, premature ending works well on its own terms.

Of course, partially that’s because this is, as mentioned, an early establishing scene: it sets up the relationship between two characters and clarifies the stakes for when they next come together. Whether Katya will be eager to pursue an assignation with an enticing stranger, or will find herself trying to shield a nosy interloper from the consequences of her own curiosity, the consequences will all play out off-screen. So too are we not privy to how Sofia will navigate the conference with the boss who assigned her her task, though notably in none of the game’s endings does she get any definitive information from Katya. This range of potential outcomes combined with the lack of narrative resolution mean that the game is essentially ambiguous – but that’s not a flaw so much as further confirmation that, as Katya says, this is fundamentally someone else’s story: Scorsese’s camera will lock onto the husbands and capos, while the struggles, loves, and hazards of the women are confined to the margin.